
THEJ^EW 

RESSMAKER 




THE BUTTERICK PUBLISHING COMPANY 



LONDON ' TORONTO • PAfKIS 



NEW YORK 




The 



New Dressmaker 



WITH C:OMPLETE AND FULLY ILLUSTRATED 
INSTRUCTIONS ON EVERY POINT CONNECTED WITH 

Sewing, Dressmaking and Tailoring 

FROM THE ACTUAL STITCHES TO THE CUTTING- 

MAKING, ALTERING, MENDING AND CLEANING 

OF CLOTHES lOK LADIES, MISSES, (ilRLS, 

CHILDREN, INFANTS, MEN AND BOYS. 




"THE NEW DRESSMAKER" IS THE ACCEPTED 
AUTHORITY ON DRESSMAKINCJ AND TAILORING AND 
THE METHODS WHICH IT GIVES MAY BE USED 
WHENEVER THE CURRENT STYLES f;ALL FOR THEM. 

A New, Revised and Hnlarj^ed Edition 



THE ^UTTERICK PUBLISHING COMPANY 

NEW YORK TORONTO PARIS LONDON 




^p 




■ f\ 



THIRD E.DITION 
PUBLI5HLD BY 

THL BUTTLRICK PUBLISHING COMPANY 

BUTTLRICK BUILDING. NEW YORK 
PARIS LONDON NE.W YORK TORONTO 



CopvriShl. 1 92 1 , bv The Butterick Publishing Company 



m IB 1921 
S)C!,A611.658 



» . I 



CONTENTS 

PAGE 

PE^FACE 5 

Chapter i — The Necessary Eqxjipment for Dressmaking 7 

Chapter 2 — Butterick Patterns 10 

Chapter 3 — Altering the Length of Patterns 19 

Chapter 4 — Altering W.aist Patterns for Figures That Vary From the 

Average 24 

Chapter 5 — Altering Skirt, Yoke and Drawer Patterns for Figures 

That Vary From the Average 28 

Chapter 6 — Materials, Sponging, Cutting, Etc 32 

Chapter 7 — Waists, Blouses and Shirtwaists. Part I — ^Dress Waists. 37 

Chapter S — Waists, Blouses and Shirtwaists. P.art II 42 

Chapter g — Skirts for Ladies and Misses 47 

Chapter 10 — Dresses for L.adies, Misses, Girls and Children 51 

Chapter ii — S.ailor or N.aval Suits 153 

Ch.apter 12 — Coats and Capes for Ladies, Misses, Girls and Children . 58 
Chapter 13 — House Dresses, Negligees, Kimonos, Bathrobes, .\prons, 

Bathing-Suits and Rompers 65 

Chapter 14 — Making and Finishing Undergarments 68 

Chapter 15 — Maternity Clothes and the Layette 72 

Ch.apter 16 — Sewing Stitches 81 

Chapter 17 — Se.ams 86 

Chapter 18 — Hems 91 

Chapter 19 — F.acings 94 

Chapter 20 — Tucks and Plaits 97 

Chapter 21 — Plackets 100 

Chapter 22 — Pockets 104 

Chapter 23 — Collars, Cuffs and Belts 109 

Chapter 24 — Buttonholes, Eyelets, Buttons, Patent Fasteners, Hooks 

AND Eyes AND Blind Loops 112 

Chapter 25 — Trimming Stitches 118 

Chapter 26 — Bias Trimmings 129 

Chapter 27 — Applied Trimmings, Ruffles, Embroidery and Lace. Part I 132 

Chapter 28 — Applied Trimmings. Part II 137 

3 



PAGE 

Chapter 29 — Sewing on Braid, Applique Embroidery, Marabou and Fur 143 

Chapter 3o^Darning and Mending 146 

Chapter 31 — Remodeling 151 

Chapter 32 — Pressing 154 

Chapter ;!,;} — The Care of the Clothes 156 

Chapter 34 — Cleaning 157 

Chapter 35 — Washing Clothes ■ 160 

Chapter 36 — Boys' and Men's Clothes 161 

INDEX 166 




THE NLW DRL55MAKLR 



PREFACE 



THE best-dressed women in the world have their clothes made for them, on lines that 
are suited to their type, and in colors and materials that emphasize their good points 
and minimize their weak ones. 
Women of wealth and fashion go to Paris for their clothes. The woman of moderate 
means can not go to Paris nor can she have her clothes made for her. The only way that 
she can be really well dressed is to make her clothes herself. She too can e.xercise her 
taste and discrimination in choosing the correct fashion, the new material, the charming 
color, the line that will make her look young, slender and elegant. And like the woman 
who wears French dresses, she can have clothes that are cut to fit her figure, that are not 
too long in the shoulder, too big under the arms, too low in the waist, or too short at the 
elbow. 

VY/OMEN are so well trained in economics nowadays they will readily understand that 
in making their own clothes they pay for the bare materials and nothing else, and so 
effect a tremendous sa\-ing which is further increased by the fact that they can buy a 
better quality of fabric that will lengthen the-life of their clothes. 

With the present simple styles dressmaking was never as easy as it is now. Com- 
pared to the elaborate trimmings of the "awful Eighties" and even the whalebone and 
crinolines of later date, the extreme simplicity of the dresses of to-day has reducedthe 
work of di-essmaking to its lowest possible terms. Trimming is so often in the form of 
effecti\'e but bold, easily executed embroidery, braiding, etc., for which you get the newest 
French designs in Needle-Art, the special Butterick publication on this subject. The 
Delineator, Butterick Fashions and the Butterick Fashion Sheet illustrate the 
latest French way of using the new trimmings and the little finishing touches that give 
a dress a Parisian look. 

The object of this book is to enable a woman to make her clothes with the same per- 
fection of finish, the same attention to detail that she would receive in the atelier of a 
French dressmaker or in the workrooms of a Fifth Avenue establishment. 

The success of a dress depends on four things: style, material, construction and finish. 

■yHE first is line or style. This you get from Butterick Patterns, which give you 
French fashions adapted to the needs of well-dressed American women. It does not give 
you conspicuous, ephemeral extremes. For example, when the French mannikins wore 
dresses which reached just below the knees at the same time that certain American 
manufacturers of ready-made clothes were making the very long lead-pencil skirt, Butterick 
Patterns kept to the smart conservative length of skirt used by the best-dressed Parisians 
and New York women. You can absolutely rely on the styles given you in Butterick 
Patterns. 

An interesting collection of the latest Paris and New York fashions appears each month 
in The Delineator and Butterick Fashion Sheet, and at the beginning of each 
season in Butterick Fashions. You get every phase of the new fashions including 
the Parisian conception of the French modes as sketched from the models of Worth, 

5 



6 THE NEW DRESSMAKER 

Paqiiin, Poiret, Doueet, etc., to the simple practical versions prepared for American 
women. 

CECOND, the materials and colors which change every season stamp a dress -n-ith its year 
mark. The new materials which are suitable for yoiu- dress, blouse, suit, etc., are given 
on the Butterick Pattern envelope. This information is also given every month in the 
Delineator and every season in Bctterick K'ashions, where you see the actual colors 
and color combinations on the color pages. 

IN THE third ijlace, your dress must be cut and put together and finished with profes- 
.-iional skill and precision. 

THE DELTOR, the very wonderful complement of the Butterick Pattern, shows you 
in pictures how to cut the garment and put it together and tells you how it should be 
finished. The Deltor shows you in its Illustrated Layouts exactly how to place each size 
of each version of the pattern on material of every suitable width. The Layouts 
show how the pieces of the pattern can be laid out so as to use the least possible amount 
of material to give the right style effect. If it is necessary to fold the material the Lay- 
outs show where to fold it so that it wUl cut without waste. With the Deltor it is 
possible to give what is known as "trick-lays" — that is, layouts planned by expert cutters, 
which save an eighth, a quarter or half a yard of material over the layout that a woman 
could plan for herself. With an inexpensive material these "triek-lays" save the price 
of a pattern, while with expensive material the saving amounts to two. four, six dollars 
or even more. With the saving made possible by the Deltor the pattern itseh costs 
nothing. 

The Layouts give the correct position for each piece of the pattern in relation to the 
selvedge so that it will be cut on the right grain of the fabric. If a garment is cut on the 
wTong grain it will have a bad style effect. 

The Illustrated Layouts save the woman the work of planning the cutting of her mate- 
rial. She sinijily copies in five minutes a layout that is the result of several hours' work 
on the part of an expert. It saves her time and gives her the benefit of an expert cutter's 
knowledge of grains and cutting fines. 

The Butterick Illustrated Instructions are a series of pictures which show you how to 
cut and put your dross together step by step. For example, in making a skirt the first 
pictiu-e will show you just how to put the pieces together, match the notches and just where 
to baste the seams. Another picture shows you how to make the inside belt down to the 
last hook. Still another puts the skirt on the belt for you. There is no possibility of 
misunderstanding. You don't have to read directions — you simply follow the pictures. 
T!ie Butterick Pattern is the only pattern in the world that has this remarkable picture 
guide. It isn't necessary to know anything about dressmaking when you have the 
Deltor. A beginner can ch-ape the most elaborate skirt or put together a tailored coat 
as expertly as a dressmaker or a tailor, for the simple reason that highly skilled pro- 
fessionals show her each step in the illustrations. They show you how to make clothes 
by pictures in the same easy, absorbing way that a movie teUs you the story of the play. 

IN THE fourth place, your dress must have the eon-eet finishing touches which are so 
characteristic of the French gown. All women dread the "home-made look." It is al- 
ways traceable to one of two things. Either a woman does not know how to finish her 
dress smartly or she is unwilling to spend the proper time in doing so. You can not get 
something for notlung. You can get the equivalent of a French dress by substituting 
your own work for the price that you would pay a French dressmaker if you supply 
yourself with the same information possessed by the French dressmaker. The Deltor will 
tell you just irhal kind of finish to use at every point and The New Dhessmaker wnll show 
you how these finishes are done. This book will gi\'e you every possible phase of finishing 
every type of garment. It is given in a simple, fully illustrated form that a begiimer can 
follow without the slightest difficulty. But nevertheless it represents the methods used 
by the great French dressmaking houses, the best Enghsh tailors and the fashionable 
Fifth Avenue establishments. For that reason it \vill be invaluable to the tnadame who is 
ambitious for the success of her business and to the home dressmaker who can not atford 
to go to the madame. 



CHAPTLR 1 



THE NLCL55ARY LQUIPMLNT FOR DRESSMAKING 

Sewing-Room, Sewing Lquipment, Sewing-Macliine, Dress-Form, Sleeve-Form 

DRRSSMAKlN(i, liUt' any other form of work, will srivc Ihe host results when it is 
ilone 'n'ith the hest equipment. "Best" does not mean the most expensive. A 
Ihi-ee-dollar pine table of tlie right height and si/,e for sewing and cutting is a bet- 
ter tabl(< for dressmaking than a fifty-doUar mahogany sewing-table just big enough 
to hold your scissors and work-basket. 

THF, 5LWING-ROOM. Every woman who sews or who has sewing done at home 
should have a light, well-equipped sewing-room. It iie(>d not be large, but it should 
have a good light by day and tlie artificial light should bi^ properly placed and shaded. 
The floor shoidd be co\ered by a clean sheet or linen drugget — sometimes called a crum- 
cloth. This covering keeps light-colored nuiterial from becoming soiled, and akso enables 
you to leave the sewing-room in perfect ord«>r at the end of tlie <hiy, for all the scraps and 
threads can be picked up in the cloth. 

The room should Ih> furnished with conifortaVile, straight chairs and a talile large 

enough to lay out a sldrt or coat 
for cutting and sewing. If it is 
a regular sewing-table, you can 
keep yoiu' shears, pins, etc., in 
the ch-awer. (111. 1.) The table 
should have a smooth, hard, 
even surface and should be of 
comfortable height, so yoti can 
sit at it with your feet under it 
as you would sit at a writing- 
table. Never sew with your 
work on your lap. It makes 
you sit in a fatiguing position, 
strains your eyes and back, 
and stretches and crumples 
your work. Lay your sewing 
on the table, letting the table 
support its weight. 

A big chest of drawers is use- 
ful, one drawer for buttons, 
boxes, hooks and eyes, etc., 
another for patterns and a third 
for left-o\-er iiieces of materials. 
Keep all pieces of material as 
long as the garment is in use, 
in ease you wish to mend or alter it. There should be hooks on the wall, coat and sldrt 
hangers, and a silkoline curtain to draw over dresses, etc., that are left hanging overnight. 

SHE.ARS AND SCISSORS. Dressmaking shears should be about nine or ten inches 
long. Never use scissors for cutting. The shears should be kept well sharpened, so that 
they will cut a clean, even edge and not fret and chew the material. The best shears for 

7 




lU. 1. Sewing Lquipment 



8 



THE NEW DRL55MAKER 



dressmaking are known as the "bent" shears. (111. 1.) They are bent in this way so as 
to raise the material as little as possible in cutting and so prevent the under layer from 
slipping in cutting two thicknesses of material. Do not buy a cheap, poor pair. Good 
steel will last for many years. Do not use your shears for cutting threads, etc. You will 
need a pair of scissors and also a pair of buttonhole scissors. 

WEIGHTS. When your material is laid out smoothly on the table for cutting, it 
should be held in place by four round iron weights weighing one or two pounds. (111. 1.) 
You can get them at the stationer's. Or you can use the same sort of weights you use 
for voui' kitchen scales. 



P1N5, NELDLF,5, ET CETERA. Clean, unbent pins are important. Small pins 
are better than large, and fine steel pins should be used on silk or any material that will 
mark. Never push a pin through a fabric. Use the points only and take up as little of 
the material as possible. 

You will need a thimble that fits con-ectly, needles of all sizes, basting cotton, dif- 
ferent colored cottons for marking tailors' tacks, tailors' chalk, a yard-stick, emery for 
polishing needles, and a tape-measure. Learn to use your tape-measure accurately, for 
one of the points of fine dressmaking is the difference between an eighth of an inch and a 
quarter, a quarter of an inch and three-eighths. 

The needle must be in proportion to the thread 
and to the texture of the material on which it is to be 
used. It should be just large enough for the thread 
to slip through the eye easily and heavy enough not 
to bend when it is put tlu-ovigh the material. 

Complete information concerning irons and ar- 
ticles for pressing will be found in Chapter 32 
"Pressing." 

THE SEWING-MACHINE should be of a good, 
reliable make. You will get full directions with it, 
and in using it be careful to observe the correct 
tension, length of stitch, etc. Tucking, gathering, 
hemming, binding, etc., can be done on a machine. 

THE DRESS-FORM. It is necessary in dress- 
making at home to have a perfect dupUcate of your 
own figure on which you can try your clothes as you 
make them. 

Buy a dress-form one size smaller than your bust 
measure. (111. 2.) If you have a thirty-si.\-inch 
bust, buy a thirty-four-inch dress-form. The 
stand should be on casters so that you can move it 
around and turn it easily. It is not necessary for 
you to have a vrxre skirt frame. Buy a waist-lining 
pattern reaching down to about the hips, buying it 
by your bust measure. (Chapter 2, pages 10 and 11.) 

Cut the lining from unbleached muslin or natural- 
colored linen or duck. The material should be of a 
firm, strong quality so that it ■will not stretch and it 
should be thoroughly shrunken before it is used. In 
cutting the lining out, cut one sleeve. 

Put the lining together according to the Illus- 
' trated Instructions given with the pattern, making 
the closing at the center front. 

The lining should be tried on directly over your cor- 
set so as to get as close a dupUcate of your figure as possible. In using the finished dress- 
form remember that it represents your figure without lingerie. Dress the form in the 
lingerie that you usually wear. 

Make the necessary alterations at the outlet seams, fitting the lining very carefully. 





Bust-Form 



THL NLCE55ARY EQUIP ME.NT FOR DRL5S MAKING 9 

Be sure to have the neck and armhole exactly right. Stitch the seams through the 
bastings. If you can't renio\e them afterward, it doesn't matter in this case. Press the 
seams open. (Chapter 32.) It is not necessary to bind or overcast them. Run a strong 
basting around the armholes and neck to keep them from stretching, turning the neck 
edges under three-eighths of an inch. 

Make up the single sleeve you cut with the rest of the lining, following the directions 
given ^^^th the pattern. Baste it into the lining and try it on to be sure that it is the right 
length and sets comfortably on the arm. Fit the sleeve as close to the arm as possible. 
Then rip the sleeve out. Stitch and pi-ess open the sleeve seams. 

Stitch the fronts of the Uning about an eighth of an inch back of each fold edge. 

Mark the waistline by a line of colored thread through the waistline perforations. 

Place the lining on the dress-form, lea\-ing the front edges open temporarily. Pad 
between the lining and the form with tissue-paper, cotton rags or wadding until it tits per- 
fectly. Be careful in padding not to stretch or draw the lining or to let the padding get in 
bunches. Pack it until the front edges just meet and then pin them together. Then sew 
them with an overhand stitch. (III. 2.) If you have prominent or uneven hips or a 
round abdomen, place the wadding where it is needed. When you pad below the waist- 
line, pin the wadding to the form so that it will not slip. 
When you ha\e padded the front out to its right propor- 
tions, turn up the lining and co\er the padding at the 
hips with a thin piece of lining material, tacking the 
covering to the dress-form. 

Place a piece of lining material inside each armhole, 
turn in the armhole edges three-eighths of an inch and 
fell them to it. (III. 2.) 

FOR a ligure that varies quite decidedly from the average 
it is better to use a special dress-form. Alteryovj pat- 
tern and make up the hning as descrilied in the earlier 
part of this chapter. Send your finished lining to a firm 
that makes dress-forms and ha\e a special form made 
from it, but a size smaller than your lining. When you 
get the form, put the lining on it and pad it as already 
described. 

Or a woman of this type of figure can get an adjust- 
able dress-form. Get it a size smaller, adjust it to rep- 
resent your figure, cover it with your lining and pad it as 
directed here. 




111. 3. The 51eeve-Form 



A WOMAN who sews for a number of people wiU have to use an adjustable form with 
a fitted lining for each person she sews for. Mark these linings distinctly with the 
name of the person for whom it was made. The form will ha\e to be adjusted and 
padded each time a lining is used. 

In using a dress-form, the skirt can be put on the form and the form placed on the table. 
It is easier to work with in this position. 

In fitting a coat the form should be dressed with the waist and skirt over which the coat 
will be worn. 



THL 5LLLVE-FORM. Take the finished sleeve of the lining and pad it firmly and 
e\'enly. Place a piece of lining material over the padding at the wrist, turn in the WTist 
edges three-eighths of an inch, and fell them to the piece of material. (111. 3.) 

Slip a piece of lining material in the armhole of the sleeve. Turn in the edge of the 
under portion of the sleeve three-eighths of an inch and fell the fold edge to the lining 
material, illl. 3.) Pad the upper part of the sleeve until it looks as nearly as possible 
like the arm. Turn in the upper edge of the piece of lining three-eighths of an inch and 
fell it to the upper part of the sleeve. (lU. 3.) 

You can use the slee\e-form for either the right or left arm, and you will find it verj' 
useful for trimming or draping sleeves. 



CHAPTLR 2 

BUTTLRICK PATTERNS 

What They Are, What They Do. How to Buy the Right Size, How to Buy Your Materials, 
How to Use Your Pattern Correctly 

BUTTLRICK PATTERNS are always in advance. They are the smartest in style, and 
give the prettiest versions of new fashions. They are the easiest to use and are 
fully guaranteed in every way. 

They are designed by a staft' whose headquarters are in Paris and New York. 
This staff is in constant touch with the work of the most famous French dressmakers 
such as Worth, Doueet, Paul Poiret. Madame Paquin, Dteuillet, Cheruit, Agnes, Jeanne 
Lanvin, -Jenny, Premet, Beer, Redfern and Martial et Armand. During the Paris season 
the Butterick stalT attend the French races, the smart restaurants, the opera and the new 
plays where the newest fashions are shown, in order to adapt them immediately to Amer- 
ican needs in the Butterick Pattern. The Paris social season is in the Spring, the London 
season in the earlj' Summer, the Deauville and Biarritz seasons in Midsummer, the New 
York season from November until Lent, the Palm Beach season in January and early- 
February, and the Nice and Monte Carlo season in March. It is therefore possible for 
the Butterick staff to work directly at the sources of the fashions which would be imprac- 
tical if all these seasons occurred at the same time. 

More Butterick Patterns are sold in Paris than all other makes of French patterns. 
The smart Frenchwoman uses Butterick Patterns because she is in a position to compare 
them with the fashions of the Rue de la Pai.x and knows the Butterick Patterns give her 
the latest French styles. 

WHAT THLY ARE- TheButterickPatterngivesyou the actual shape of every new fashion 
and for every type of garment tor women, young girls, children, boys and babies, and for 
every kind of garment that a woman should undertake to make for the men in her family. 

The Butterick Patterns give the professional dressmaker patterns that she can not 
afford to make herself. If she is suffieientl.v expert to be able to draft a good pattern her 
time is worth several hundred times the small amount which she pays for the Butterick 
pattern. If she is not e.xpert enough to make a pattern, the Butterick pattern made by 
the highest grade of professionals saves her the ruinously e.xpensive mistakes that she 
would make if she attempted to cut her own patterns. 

HOW TO BUY THE RIGHT SIZE. It is absolutely essential that you buy your pat- 
tern by the right size. In no other way can you be sure of securing the perfect lines of 
the original design. The right size will save you time because it means that there will 
be no unnecessary fitting. It will save your material. A size too large takes more mate- 
rial than you require while a size that is too small might make your dress unwearable. 
Insist on being measured each time you bu.y a pattern. New corsets or an unsuspected 
change of weight may have altered your Inist, waist or hip measure. Before buying a 
pattern put on your best corsets and lace them properly. Wear a waist or dress that 
fits nicely. Never be measured in old corsets, over your coat, or in a clumsy dress or a 
negligee. 

The bust meaxure only is used in buying waists, blouses, dresses, coats and underwear 
(except petticoats and drawers). Buy them all by the same bust measure. If you buy 
a thirty-six bust waist buy a thirty-six bust coat or chemise. 

Don't buy a larger size for your coat or a smaller size for your underwear. A coat 

10 



BUTTE.R1CK PATTERNS 



11 




Ills. 4 and 5. Measuring a Woman's Bust. Waist, Hip and Arm 



pattern makes allowanoe 
in the size of the waist or 
di-ess underneath; under- 
wear patterns make the 
proper provision in size 
to allow for the fact that 
they are worn under a 
waist or dress. 

A thirty-six inch bust pat- 
tern fits a figure whieh mea- 
sures thirty-six inches in the 
bust. The pattern itself does 
not necessarily measure thir- 
ty-six inches. The proper 
amount of fulness is allowed 
in a blouse to give it the 
rig ht softness on the 
figure. In a waist the 
right amount of size is al- 
lowed to give the correct 
style effect. A thirty-six 
inch bust soft blouse will 
be larger than a thirty-six 
inch bust close-fitted basque 

but both of them will fit correctly a woman who measures thirty-six inches at the bust. 
In buying a pattern you can not rely on the size that you buy in ready-made clothes. 

With some manufacturers sizes run large and with others they run small, and do not fur- 
nish you a reliable guide in buying a pattern. Be measured. 

The bust measure should be taken over the fullest part of the bust close up under 

the arms and straight across the back, with the tape-measure drawn easily but not 

snug. (Ills. 4 and 5.) 

The waist measure should be taken at your normal waist- 
line with the tape-measure held snug but not tight. 

(Ills. 4 and 5.) 

Skirt patterns, drawers and pct'.iconlx should be bought 

by the hip measure taken seven inches below the normal 

waistline for women, and around the fullest part of the hip 

for misses and small women. The tape should be easy and 

not snug. (Ills. 4 and .5.) 

The sleeve pattern should be bought by the arm measure 

taken easily around the arm just below the armhole. 

(111. 4.) 
At the top of every pattern you will find instructions 

as to how to buy that particular ])attern. that is, whether 

it should be bought by the bust or hip measure, etc. Fol- 
low these instructions in buying your pattern. 

Skirt patterns should be bought by the hip measure. 

(Ills. 4 and 5.) If the waist is small in proportion to the 

hips, it is an easy matter to take in the skirt a little at the 

top. If the pattern is small for you at the waist — and 

this will happen only in rare cases — a slight allowance 

can be made for the necessary waist size when you cut 

out your material. 

A sldrt pattern should never be ordered with a hip 

measure smaller than that of the figure to be fitted. 
If a plaited skirt is too large or too small at the waist, 

the plaits should be made either deeper or shallower to 

fit the belt. III. 6. The Underarm Measure 

If the skirt is gathered at the top, the gathers simply ;s Taken frorri One Incli Below 

, ,,,-,, \ . J , trie Armpit to the Length the 

need to be drawn a little closer or let out as much as Dress is to be Worn 




12 



THL NLW DRL55MAKLR 



needed. If the skirt is plain at the top 
and gored, each seam should be taken in 
so as to make the alteration as small as 
possible in each place, sloping it gradu- 
ally to nothing at the hipline. Or the 
waist size can be increased as illustrated 
and explained in Chapter 5 "Altering 
Skirt Patterns." Page 28. 

In a circular skirt with one or more darts, 
the waist size can be made smaller or larger 
by taking in or letting out the darts. 

In a circular skirt without darts, if only 
a small reduction is required, it may often 
be eased into the belt. If the waist needs 
to be made very much smaller it may be 
necessary to make a small dart at each hip. 

If the waistline needs to be made larger 
it can be done by raising the skirt a trifle 



^^\ 





OF HlP 



Ills. 9 and 1 0. Measuring a Boy's Breast and Waist 



Ills. 7 and S. Measuring a Ctiild's Bust. Waist and Hip 



on the belt all the way around. A very 
little will increase the waist size a good 
deal. 

MIS5L5' PATTERNS for dresses, blouses, 
coats and underwear, except drawers and 
petticoats, should be bought by the age 
unless the girl is large or small for her age 
in which case the pattern should be bought 
by her bust measure. Skirt, drawers and 
petticoat patterns should also be bought 
by the age if the girl is of normal size. If 
she is large or small buy her di-awers or 
petticoat patterns by her hip mea,sure. 

SMALL WOMEN'S PATTERNS for 
dresses. l)louses, coats and underwear, e.x- 
cept drawers and petticoats, should be 
bought 1\N- bust measure. Skirt, drawers and 
petticoat patterns should be bought by 
hip measure. 



JUVENILE PATTERNS should be bought by age unless the child is small or lai-ge for 
its age. In that ease order the girl's dresses, coat and underwear, except drawers, by 
the bust measure. The drawers should be ordered by the waist measure. The proper 
way of taking a child's measurements is shown in the Illustrations 6, 7 and 8. 

BOYS' PATTERNS should be ordered by age. If a 
boy is large or small for his age order his blouse, suits 
and coat by his breast measure, his shirts by his neck 
measure, and liis trousers l>j- his waist measure. 

Illustrations 9 and 10 show the proper way of taking 
boys' measurements. The breast measure is taken 
around the body close under the arm with the tape 
drawn close but not tight. The measurement for an 
overcoat should be taken over the clothing the coat is to 
cover. The waist measure should be taken at the normal 
"waistline 'with the tape-measure held close but not tight . 

HEAD MEASURE. In ordering hats for children rhw 

Order hat patterns by the age unless the head is large ' 'Head" 





111.12. A Doll 
is Measured 
from the Top of 
its Head to the 
5oleof Its Peet 



BUTTLRICK PATTERNS 13 

or small. In that case measure the head as shown in Illustration 11. 

MLN'5 SHIRT PATTERNS should be bought by the neck mea- 
sure. You fan get his neck measure from his collar, a comfortable 
shirt, or his own neck. If you buy his shirt patterns by his 
collar size find out whether he prefers his shirts 32 inch or Y^ 
of an inch smaller than his collar or the same size. All tliree sizes 
are correct, it is a matter of individual preference. 

If you are measuring from a shirt that is comfortable, measure 
from the center of the buttonhole of the right end to the center of 
the buttonhole of the left end. 

If you measure his bare neck, measure it where the neck band 
comes. Do it carefully and hold the tape-measure easy. Add J^ 
inch to his actual neck measure for his shirt size. 

Butterick shirt patterns allow for all shrinkage of the silk and 
cotton materials. Wool materials should be shrunk before cutting. 

Buy his nightshirt and pajama patterns by the same neck measure 
as you would a regular shirt. Don't buy a larger size; the night- 
shirt and pajamas patterns have the necessary allowance for an 
easier fit around the neck and through the body. 

DOLLS' PATTERNS. When you measure a doU measure its 
length from the top of its head to the sole of its foot. (111. 12.) 



HOW TO BUY YOUR MATERIALS. The effect of a dress 
depends very largely on clioosing the material that is suitaljle for 
it. For example, you would never choose chiffon for a circular 
skirt on account of the fact that chiffon would stretch badly when cut on the bias, and 
that it is so soft that it would not give the flare at the bottom which is characteristic 
of the circular skirt. 

You would not choose a stiff silk that would give the bouffant effect in a style period 
when fashions were soft and clinging. Nor would you use a soft, clinging silk when it is 
desirable to have the bouffant effect given by a stiff silk. A material that has had a 
great vogue and that has become passe should never be used for a new dress for it will 
give the dress an out-of-date appearance. 

The same thing is true of colors. For certain staple materials like serge and gabardine, 
the accepted colors like black and navy blue are always worn, but for the most part it is 
necessary to inform yourself each season as to what is new and correct. This information 
is given each month in The Deline.itor and every season in Butterick Fashions. 
Materials suitable for the pattern are also given on the back of the pattern envelope. 

The quantities on the pattern envelope will tell you what wndth of material you can 
select. Never choose a material narrower than those given on the envelope. The widths 
given are the ones in which you can cut the garment without ugly piecings. Narrower 
widths are not given because they would be undesirable. 

The pattern envelope will tell you exactly how much material you would need for any 
size and in every suitable width for the dift'erent views on the pattern envelope. For 
that reason you must always buy your pattern before you buy your material. If you 
buy your material first you vv-ill do it by guesswork and you will get either too much or 
too little. If it is too much you are wasting material and money. If you get too little, 
one of two disagreeable things might happen. You might not be able to get more ma- 
terial when you went back for it. or you might find that the amount you bought origi- 
nally was a quarter of a yard too little for your sleeves, making it necessary to get three- 
quarters of a yard of new material, where a quarter of a yard more material in the first 
place would have answered if it had all been cut in one piece. Buy your pattern first 
and decide which vdew you will follow in making it up so that you can find out exactly 
what material you will require. It will take less material, for example, if you are going 
to make a dress with the short sleeve of one view instead of the long sleeve of another. 
The pattern gives the quantity for each view. 

In planning the length of your skirt and before cutting your material, it is necessary 
to decide whether the lower edge is to be finished with a hem or facing. Butterick patterns 



14 



THE NEW DRL55MAKE.R 



for ladies' skirts do not allow for a hem and the quantities given on pattern envelope 
do not include enough material for a hem. In some cases a facing can be made from 
pieces that are left over. As a rule a skirt can be cut from less material if a facing is used 
but in some cases a hem is preferable wliile in other cases a facing is better. 

For a sheer material a hem should be used, if possible, as the seam joining a facing to 
the lower edge of a skirt will show through a transparent fabric. A hem is the best fin- 
ish for the bottom of a plaited skirt as a seam in the lower edge woidd be bulky in the plaits. 

If the lower edge of a skirt has an inward curve as is usually the case when a skirt is 
much narrower at the bottom than the top, it is better to use a bias or shaped facing as 
a hem would be tight at the upper part when turned up. 

If a hem is desired, allowance for it must be made in buying the quantity of material 
and in cutting by the pattern, unless the skirt pattern is too long for you. If jou are 
two or three inches below average height the pattern wll be too long for you and the 
quantities given will allow you to use a hem. 



THE USE OF PATTERNS. After you have bought your pattern take it home, open 
it and identify the different pieces by the diagram on the back of the envelope. 

If the two sides of the pattern are e.xactly alike you will find that the pattern is for 
just half the garment and that each piece is to be cut double or twice. 

A front gore pattern is cut double with its front edge on the fold of the goods. 

If one side is different from the other a pattern will be given for each part that is differ- 
ent as in the case of a skirt which is draped on one side and not on the other. 

The two side gores are either cut singly or from a double thickness of the material. 

After you have identified each piece of the pattern decide which ones you are going to 
use and put the others back in the envelope. A waist, for e.xample, •v^ill often have two 
sleeves, and you must choose before cutting which sleeve pattern you prefer. You 
must also decide whether you will use a body lining, a collar for the liigh neck, etc. Al- 
ways put the pieces that you are not going to use out of the way so that you will not make 
the mistake of cutting out things you do not need, and wasting your material. 

The Butterick Pattern has a unique service of the greatest value in the DELTOR with its 
ILLUSTRATED LAY-OUTS FOR CUTTING. These lay-outs show how to lay out for 
cutting every size in which the pattern is cut and on material of every w idth suitable for the 
garment. If there are two or three ways of making a garment from the pattern, the lay- 
outs cover each method of making the garment. 

The purpose of these lay-outs is twofold. In the first place they are intended to show 
a woman the most economical way of cutting this garment correctly with the least pos- 
sible waste of material. In the second place they show her how to place each piece of 
the pattern on the correct grain of the material. If any piece is cut on the WTong grain 
it will look badly when the garment is worn. If a sleeve is cut on the wTong grain it 
will crawl around the arm and never stay in the right place. With the new Butterick 
Illustrated L a y - 
Outs any woman 
can cut her gar- 
ment just as an e.x- 
pert dressmaker or 
tailor would cut it. 

This question 
of the gi-ain or 
thread of the ma- 
terial is very im- 
portant. 

All materials are 
finished at the 
outside edges with 
a woven border 
called a selvedge. 
(111. 13.) The 
material itself is 
woven with length- 
wise or crosswise 



SELVeOGE 




SELVEDGE 



111. 13. 



Lengthwise and Crosswise of Material. Lengthwise 
and Crosswise Folds 



BUTTLRICK PATTERNS 



15 



threads. The lengthwise threads run parallel to the selvedge. (TU. 13) Crosswise 
tlu-eads run from selvedge to selvedge. (111. 13.) 

A LENGTHWISE FOLD is a fold made parallel to the selvedge. (111. 13.) 

A CROSSWISE FOLD is a fold made straight across the material from selvedge to 
selvedge. (111. 13.) 



A TRUE BIAS runs diagonally across 
and crosswise threads. (111. 14.) 



II 
II 



I I 






I ^ 
^ ^ 






I if t 



^. *$: § r I I 
' ^^ 14 I 1/ 






i i 1.^ 1 14 






i I If I H I 






f I 1^ M 
I ^ 5S ^^ ^ 



11 

1 1 
I 




III. 14. Marking Material 
for Bias Strips 



the material at right angles to the lengthwise 

Triw Hina is obtained by spreading the mate- 
rial on the table and making a mark seven or 
eight inches from one corner on both the selvedge 
and the cut end. Lay a yardstick across the 
corner, touching both these marks, and draw a 
line. (111. 14.) Make as many marks on both 
edges as there are strips needed, marking them 
the required width. Then cut carefuUj , follow- 
ing the line anil using shar]) scissors. 

When the material for the bias bands is alike on 
both sides, as in the case of corded silk, for in- 
stance, be careful to have the cut strips all on 
the same bias. 

Sometimes, in cutting, if the material is very 
pliable, the edges will stretch, and in time the 
cutting line will deviate from the original mark. 
It is well, in cutting mai\y strips, to lest the bias 
line occasionally, by la\ing the yardstick across 
the material, and cutting a new edge if the old 
one is not even. 

Bias bands, folds, ruffles, facings, etc., must be 
cut on a true bias to give satisfactory results. 
For rounding corners or following curved lines, 
or making folds or ruffles hang gracefully, it is 
impossible to use successfully material that is 
cut on the straight of the weave. To maintain 
a perfect bias, the strips should be of equal \\idth 
throughout their entire length. 







Mi' 










Joining Bias Strips 



III. 16. The Seam 



TO JOIN BIAS STRIPS, lay the two diagonal ends together as shown in Illustration 15 
and baste in a seam. (111. 15.) It will then be seen that when the joined strips 
are lapped back, the grain of lioth pieces runs correctly in the same direction. (111. 16.) 



PERFORATIONS. Every piece of the pattern is marked with perforations and 
notches which have different meanings and different uses. 



16 



THL NLW DRESSMAKER 



III. I 7. A Line 
of Large Double 
Perforations is 
Always Laid on 
the M ater ial 
Lengthwise and 
Parallel to the 
Selvedge or 
Crosswise from 
Selvedge to 
Selvedge 



IS. Large Triple 
Perforations 



. 20. A Large Single 
Perforation 



.21. A Small Single 
Perforation 



Large double perforations are used 
in cutting. (111. 17.) They show 
you how to lay the pattern on the 
right grain of your material. These 
large double perforations form a 
straight line which is always placed 
length^vise or crosswise on the ma- 
terial. 

When they are laid on lengthwise 
they are parallel to the selvedge 
edges. 

When they are laid on crosswise 
they run across the material from 
selvedge to selvedge. 

Many women take a ruler and draw 
a straight line through these perfo- 
rations for it makes it a little easier to 
see that the line is the same distance 
from the selvedge from end to end. 

These large double perforations 
must be laid on a straight thread of 
the material so that the garment ■will 
set well and have the best effect when 
finished. If they are not placed ex- 
actly parallel to the selvedge or on a 
straight crosswise thread the garment 
will twist and look badly. 

The large triple perforations are 
also used for cutting but they are 
always laid on the fold of the material, 
either a lengthwise or crosswise fold. 
(111. 18.) 

Some sldrts are cut with one bias 
edge on each gore. Others have two 
bias edges, depending on the design 
of the skirt. The perforations in 
the pattern will show you just how 
that particular skirt should be cut. 

After you have pinned your pattern 
on the material it is advisable to take 
a ruler or tape and measure the cut- 
ting hne to be sure that it is the same 
distance from the selvedge on each 
group of perforations. 
Small double perforations are always used to mark the normal waistline in skirts, 
blouses, coats, etc. (111. 19.) In some cases they are also used to indicate special out- 
lines at the neck, etc. 

Large single perforations (III. 20.) and small single perforations (111. 21.) either alone 
or together are used for different piu-poses and their use is always shown in the Illustrated 
Instructions. 



< 



III. 1 9. Small Double 
Perforations 



111. 22. 



Single and Double 
Notches 



NOTCHES (111. 22.) are used at seam edges to show which edges should come together. 
Edges marked with notches are put together with the duplicate notches matching. 

Pin the pattern in place with small pins placed as close together as necessarj' to hold 
the pattern firmly. Do not push the pins tlu-ough the material recklesslj, but take 
up as few threads as possible so as not to mark the material. 

In cutting you must use sharp dressmaking shears and follow the edge of the 
pattern exactly. If you cut with smaU dull scissors you will get a jagged edge that 
you can not follow in basting. If you cut beyond the edge of the pattern you will 
change the size of the garment. 



BUTTLRICK PATTERNS 



17 



ILLUSTRATED INSTRUCTIONS. 
In the pattern envelope you will find 
THE DELTOR in which are the 
BUTTERICK ILLUSTRATED IN- 
STRUCTIONS. Look these over and 
see how easily your dress will go to- 
gether. 

THE ILLUSTRATED INSTRUC- 
TIONS show you with a series of 
pictures how to join every part of 
the garment, just where to baste, 
tuck, drape, etc. You do not have 
to read long, confusing directions for 
it is all told in pictures which, with 
a few e.xplanatorv words, are impos- 
sible to misunderstand. You see at 
a glance what you are to do just as 
if there were someone at your work- 
table putting your garment .together 
for you. 




111. 23. Bailing Through Outlet Perforations 





III. 24. Basting a Three-eighths of an Inch Seam 

THE ILLUSTRATED INSTRUCTIONS show 
you just how to use every perforation and every notch. 
If you have never used a pattern in vour life the IL- 
LUSTRATED INSTRUCTIONS make it possible for 
you to make any type of garment without any knowl- 
edge of dressmaking, because the knowledge is supplied 
you by an expert who has reduced it to pictures. 

OUTLET SEAMS are marked by large single perfora- 
tions (111. 23.) In basting them the basting line should 
run e.xactly through the center of these perforations. 
(111. 2.3.) 

Ordinary seams are not marked by perforations but 
are basted exactly % inch from the seam edge. (111. 24.) 
The outlet seam is deeper than the ordinary seams. 
It is made so on purpose so that it can be let out if it 
is necessary to make any slight alteration to suit the individual figure. They are general- 
ly used at underarm and shoulder seams, and very often in the seams of sleeves. In 
so many ca.ses women's shoulders are not exactly even or there are some slight variations 
from the average at one point or another of the figure. These outlet seams give j'ou a 
chance to alter the garment in an easy, simple way. 

ORDINARY SEAMS. A J^ of an inch seam allowance is made on all edges not cut on 
the fold of the goods, or finished with a hem. In basting, the seam lines must be followed 
exactly. (111. 24.) If you make them deeper or narrower you will alter the size of the 
garment. 

DARTS are marked by V-shaped lines of perforations. 

A dart is made b.v bringing the two lines of a dart perforations together and basting 
through the perforations. (111. 2.5.) 



Ills. 25 and 26. Right and Wrong 
Methods of Terminating Darts 



18 THLNE.WDRLS5 MAKER 

Illustration 25 shows the easy ourve which should be followed in finishing a dart in 
a waist pattern. The illustration shows the material basted with the eorrespondins 
perforations matched according to pattern instructions. The line of the basting should 
follow a reverse curve toward the point, running into the fold almost on a line with the 
fold. If a reverse curve is not followed (III. 26.) you will get a pouch effect, a sort of 
pucker, sometliing that is seen at the top of a badly sewed dart. 

All perforations and notches should be followed faithfully. They are the work of 
experts who have gone to an immense amount of labor and study to show you the ab- 
solutely correct way of putting together your garment. It takes a little time to mark 
them all carefully in the beginning, but you save that time over and over again before 
you are finished. 

All the working perforations should be marked with tailors' tacks, using different colored 
cotton to mark the different sizes and kinds of perforations, so that you won't confuse 
them after you have removed the pattern from the material. (Chapter 16 III. 146.) 

THE. DE.LTOR gives complete suggestions for finishing the garment in the different kinds 
of material to wliich it is suited. The finishes given in the Deltor are those that would 
be used by the best Paris and Fifth Avenue establishments and if they are followed care- 
fully the garment wiU have a well-made French look instead of "the home-made look" 
which is the result of improper and careless finishing. The suggestions given in the 
Deltor are explained and illustrated in The New Dressmaker. For example, if the Del- 
tor tells you to use a French fell seam or a bound buttonhole, you will find illustrated di- 
rections for making the seam and the buttonhole in The New Dressmaker . 

NOTE: If after reading this chapter carefully and following the instructions you are 
not entirely satisfied with the way you ha\'e made any style of garment from a Butterick 
Pattern write to Eleanor Chalmers in care of the Butterick Publishing Company, 
New York City. Explain your difficulty as fully as you can and Mrs. Chalmers will 
help you. 



CHAPTER 3 

ALTERING THL LENGTH OF PATTERNS 

Lengthening or Shortening a Waist Pattern — Lengthening and Shortening Sleeve Patterns 

Increasing or Decreasing the Size of Collars — Lengthening and 

Shortening Skirt Patterns 



BUTTLRiCK PATTERNS are made with such expert skill and are the result of such 
scientifie accuracy and study that they are an absolutely perfect fit for the woman 
of average proportions. But it often happens that a woman varies from the nor- 
mal at some point. The variation may not be marked enough to be noticeable. 
But if she is an inch or two long or short waisted, if she is sUghtly round-shouldered, if the 
upper part of her arm is long in proportion to the lower part, her patterns wall have to be 
altered a trifle to make them correspond to her figure. The alterations are extremely 
easy to make, but this point again iUustrates the advantage of making your clothes to 
suit your figure, to fit the irregularities of the figure that are taken care of in this chapter. 
The changes that are given here may be made without altering the original lines of the 
pattern, though they should be made in the pattern and not in the garment after it is cut 
out. If you attempt to make these changes in fitting the garment it will mean more 
work than if you had made a simple alteration in the pattern before cutting out your 
material. Trying to alter the garment itself is unsatisfactory, even with the additional 
work, for these changes can not be made after the garment is cut. 

Almost every woman knows if there is any variation from normal in her figure. She 
knows if she is taU or short, long-waisted or short-waisted, if she has round shoulders, a 
narrow back, a flat chest or a broad back, etc. Before cutting your material you must be 
sure that the pattern is the right length and shape for your particular figure. 

ADAPTING PATTERNS TO LONG OR SHORT 
WAISTED FIGURES— Before cutting your mate- 
rial have your figure measured from the coUar 
seam at the back of the neck to the normal 
waistUne, and close up under the arms to the 
waistUne. Make a memorandum of these mea- 
surements as they are taken. 

Now take your lining pattern and take the 
corresponding measurements of the pattern. 
Remember that the back pattern has a J^g of an 
inch seam allowance at the neck and that there 
is a % of an inch seam allowance at the arm- 
hole edge under the arm. 

Compare your measurements with the measure- 
ments of the pattern. In most cases it is suf- 
ficient to alter the waist length at the lower part. 
Some figures, however, are long-waisted from un- 
der the arm to the waistUne and short from under 
the arm to the neck. If this is your case you will 
discover it in comparing your measurements with 
the measurements of the pattern. If the lower 
part is too long lay a plait across each piece about 
2J^ inches above the waistUne. (lU. 27.) The 
19 




III. 27. To Shorten the Waist LJning 



20 



THL NEW DRL55MAKER 




III. 28. To Lenglhen Ihe \v'aist Lining 



depth of the plait will depend on the amount 
of difference between your figure and the length 
of the pattern. 

If you find that your underarm measure and 
that of the pattern are the same, but that you 
are shorter-waisted than the pattern, t he diflference 
is in the upper part. Decrease the length of the 
upper part of the pattern by laying a plait across 
the front and back, half-way between the under 
arm and the neck. (111. 27.) 

If you are long-waisted instead of short-waisted 
the lining pattern can be altered at the same 
points, by cutting the pieces of the pattern and 
separating them sufficiently to give you the 
length you need. (III. 28.) " 

In laying plaits across the pattern the edge of 
the pattern should be evened off after the plaits 
are laid. 

If an alteration is made in the length of the 
lining a corresponding alteration must be made 
in the pattern of the outside of the waist or dress, 
taking out or putting in the same amount and 
in the same places. 



LENGTHLNING OR SHORTENING THE 
TWO -SEAM SLEEVE PATTERNS— Your arm may measure 
exactly the same as the sleeve pattern, but its length might be 
made up of a long upper arm and of a short forearm. In that 
case the elbow of the pattern would not come in the right place 
on your arm. Or your arm may be perfectly proportioned, but it 
may be longer or shorter than the average, in which case an alter- 
ation would have to be made in both the upper and lower part of 
the sleeve pattern to make it the right length for you. 

For a two-seam sleeve pattern measure along the inside of your 
arm from the armhole to the bend of the elbow, and from the 
bend of the elbow to the wrist. Yon will need both these mea- 
surements, so as to be sure that the sleeve elbow will come in the 
right place. Measure your sleeve pat- 
tern along the inside seam of the upper 
part from ^k of an inch below the arm- 
hole edge to the small double perfora- 
tions which indicate the elbow. Mea- 
sure from the elliow i)erforations to 
within 3g of an inch of the wrist edge. 
The 's of an inch on each edge is the 
seam finish. 

Compare your arm measurements with the measurements 
of the pattern. If the pattern is too long for you above the elbow 
lay a plait across the pattern a little above the elliow. (111.29.) 
If there is an inch difference in length the plait should be '2 of 
an inch deej). If the lower part of the sleeve is too long for you 
lay a plait across the lower part V)elow the elbow. (111.29.) 

The same alterations should be made in the under part of the 
sleeve pattern, making the plaits the same depth that you made 
in the upper part of the pattern. 

When the plaits are laid the edge of the pattern v.i\\ become 

uneven. If the arm is very full the space between the elbow and 

the greater width of the upper part of the sleeve should be filled 

III -in I *.u • .^ out, giving vou an even line. If the arm is not large vou can trim 

111.30. Lengthening ~. , f" • i.i i * .i- • .1 / 

the Sleeve Pattern oB the extra width and get your even outlme m that way. 





III. 29. Shortening Ihe 
Sleeve Pattern 



ALTLRING THL LLNGTH OFPATTLRN5 



21 




I. 3 1 . Measuring the Arm for a One- 
Seam Sleeve or a Kimono Sleeve 



from the two-scam sleeve and 
so have to bo measured in 
a different way. In using 
either of these sleeves have 
youi arm measure taken from 
the center of your back 
along the outside of your arm 
to the wrist with the arm bent. 
(111.31.) 

In the ease of a one-seam 
sleeve pin the sleeve pattern 
to the back pattern with the 
armhole edges lapping % of 
an inch. If there is a cuff pin 
it to the lower part of the sleeve 
lapping them 5^ of an inch. 
Turn up the cuff in case the 
cuff is double. (111.32.) Com- 
pare your measurements with 
the measurements of the pat- 
tern, and if the pattern is long 
or short for you, alter it as 
shown in Illustrations 33 and 
34. A slee\e of this kind has 
no elbow curve, so that it is 



If the sleeve pattern requires lengthening make 
the alteration at the same places in the pattern, 
cutting across the pattern and separating the 
pieces as in Illustration 30. Correct the outline 
of the edge in the same way as when the sleeve 
is shortened. 

LENGTHENING OR SHORTENING A ONE- 
SEAM SLEEVE PATTERN OR A KIMONO 
SLEEVE PATTERN— One-seam sleeves and ki- 
mono sleeves fit the figure quite differently 




111. 33. 




Shortening a One-Seam 
Sleeve Pattern 



111. 3 4. Lon<;thenin§ a One-Seam 
Sleeve Pattern 



111. 35. Measuring a Kimono Sleeve Pattern 



not necessary to alter it abov(^ and 
below the elbow. It is simply a ques- 
tion of adding or subtracting length 
at the correct point. If the pattern is 
an inch too long for you lay a J^-inch 
plait across the pattern. (111. 33.) If 
it is too short slash the pattern and sepa- 
rate the pieces. (111. 34.) If your arm 
is full you can correct the outline by 
filling in below the plaits and above the 
slash. If it is of average size you can 
trim down above the plait and below the 
slash. 



22 



THE. NEW DRESSMAKER 




cnnt 



:i 




> " •• f- •• " •* 



. 36. Increasing the 5ize of Collars 
and Neckbands 



III. 37. Decreasing (he Size of Collars 
and Neckbands 



In the kimono sleeve pattern measure from the center of the back below the neck to 
within y^ of an inch of the lower edge of the sleeve. (111. 35.) This y% of an inch is a 
seam finish. The alterations for lengthening or shortening a kimono sleeve are exactly 
the same as for the one-seam sleeve. (Ills. 33 and 34.) 

INCREASING OR DECREASING THE SIZE OF THE NECKBAND AND COLLAR— 
If the neckband of a pattern is not the right size for your neck it should be altered at the 
center back. If it is too small cut it through the center and separate the pieces suffi- 
ciently to make it the right size for you. Illustration 36 shows this alteration for neck- 
band and a turndown collar. 

If the collar pattern is too large for you lay a plait across the center back. (lU. 37.) 

LENGTHENING AND SHORTENING GORED SKIRTS— Have your measure taken 
from the normal waistline at the center-front to the distance from the floor at which 
you wear your skirts. This length varies with different fashions. Add an inch to your 

measurement for the give 
and take of making the 
skirt. The front-length 
measurement of your skirt 
pattern will be given on the 
pattern envelope. Com- 
pare your measure with the 
length of the pattern. If 
the pattern is too long for 
you, lay a plait straight 
across each gore about six 
inches below the hipline. 
(111. 38.) The hipline is 
seven inches below the 
normal waistline. (lU. 38.) 
If the gores are cut with 
one straight edge, measure 
the plait at the straight 
edge. If both edges of the 
gore are bias, measure the 
plait at the line of large 
double perforations that 
mark the straight thread of 
the material. 

If the figure is full, the 

edge of the gore on the 

bias side should be flUed out 

Ills. 38 and 39. LenglheninS and ShorteninS Gored Skirt Patterns from the folded plait to the 




LINE 




ALTLRING THE LENGTH OF PATTERNS 23 

hip. (111. 38.) If the figure is slight, this extension which comes from the plait can be 
trimmed ofl". 

To lengthen a gored skirt pattern, cut across each gore six inches below the hipline and 
separate the pieces as much as necessary. (111. 39.) 

In very rare cases it is sometimes necessary to alter the length of a sldrt pattern as 
much as four or five inches. In an extreme case of this kind it is better to make half the 
alteration six inches below the hip as shown in the Illustrations 38 and 39, and the other 
half at the lower edge of the pattern, turning up the lower edge to shorten it and adding 
to it to lengthen it. 

In a circular skirt the pattern should be altered at the lower edge. 

LENGTHENING OR SHORTENING A STRAIGHT SKIRT PATTERN— The length of a 
straight sldrt can be altered -at the liottom, turning up the lower edge if it is too long and 
adding more length in cutting if it is short. 

DRAPED SKIRT PATTERNS, TUNIC SKIRT PATTERNS, ETC.— If it is necessary to 
alter the length of a draped skirt pattern or a tunic skirt pattern, or a pattern with 
tucks or marks for trimmings, alter it according to the instructions given on the pattern 
envelope. The position for the alteration vnl\ vary with the skirt. 



CHAPTE.R 4 

ALTERING WAIST PATTERNS FOR FIGURES THAT VARY 
FROM THE AVERAGE 

For a Figure Broader at the Back than at the Front, for Square Shoulders, for Sloping Shoulders, 
(or ci Full liust, for a Small Bust, for Round Shoulders, for an Over Erect Figure 



ALTFRING A PAFTLRN FOR A FIGURF. BROAD 
ZX IN BACK iN PROPORTION TO THE. FRONT. 
^ ^ Several women may tiave exactly the 
same bust measure but the bust size may be 
distributed in different ways. The first type of 
figure to be considered in this chapter is the 
fifiure that is broad across the back in proportion 
to the chest measure. I'sually this type of 
wonuvn is hollowH-hested. If her back is broader 
than the average, she has discovered it in making 
her own clothes. 

The alteration for this type of fitjure is very 
simple. Slash the back pattern from the shoulder 
to the bottom on a line with the back ed,!;;e antl 
separate the pieces as much as is necessary to fit 





III. 40. lot a 1 Kuro Broad 

at the Back in Proportion 

to the Hront 



111.41. If a Woman Has 
Square .Shoulders the Lin- 
ing Will Wrinkle Aaoss 
the Chest 



111. 42. The Alteration 

is Made at the Shoulder 

Seam 

24 



the figure. (111.40.) This will make 
the shoulder of the back longer than 
Ihc shoulder of the front. (111. 4t).'> 
Half of this dift'crcnce in width 
should be sloped off the arnihole 
edge of the back. (111. 40.1 Halt 
the dift'crence should be tilled in at 
thearmhole edge of the front, letting 
the allowance slope to nothing at 
the notches. (111. 4t).) The doited 
line in Illustration 40 shows you 
where to till in and where to slope off. 

ALTERING WAIST LININGS AND 
WAISTS TO FIT SQUARE OR 
SLOPING SHOULDERS, lllus- 
I rat ion 41 shows how a waist lining 
will draw across the chest on a 
square-shouldered figure. The alter- 
ation is so simple that it doesn't 
have to be UKidc in the imltern lint 



ALTERING WAIST PATTERNS 



25 



can be made in the actual waist lining and waist. You cut your waist or lining in the 
ordiuaiy way by your pattern and put it together according to the Illustrated Instruc- 
tions. Try it on, pinning the fronts together. (III. 41.) You will find that it draws 
across the chest and needs to be taken up at the shoulder seams at the neck as 
much as necessary to remove these wTinkles, letting this alteration slope toward the 
shoulders. (III. 42.) Tapering in the shoulder at the neck will make the neck size too 
small. Slash the neck edge of the lining at intervals until it feels comfortable. (111. 42.) 
Take off the lining and haste the shoulder seam and trim off the neck edge on a line 
with the slashes. Try the lining on again to be sure the alteration is rieht before stitch- 
ing the shouldiT seams. If there are crosswise wTinkles at the back, the back lining can be al- 
tered in the same way. The same altera- 
tion that is made in the lining should 
be made in the outside waist. 

ALTERING A WAIST TO FIT SLOP- 
ING SHOULDERS. Sloping shoulders 
make the diagonal wrinkle from the 
neck to the armhole. (III. 43.) This 
alteration, too, can be made in the 
lining and the waist without alter- 
ing the pattern. Make up your lining 
in the usual way and put it on, pinning 
carefully at the center front. In Illus- 
tration 4:5 the shoulders are very slojj- 
ing, and in your case the wrinkle nia\- 
not be as pronounced. The WTinkle is 
due to the fact that the shoulders are 
not high enough to take ui> the full size 
of the pattern. The extra size must 
be taken up on the shoulder seams. 
Take in the shoulders as little as pos- 
sible at the neck and as much as neces- 
sary toward the arm. (III. 44.) 

Taking in the shoulder seams will 
decrease the size of the armhole and 




III. 43. Sloping Shoulders 
Make Ihe Lining Wrinkle 
from Shoulder to Armhole 



III. 44. The Lining Must 

be Lifted on the 

Shoulder 



III. 45. It the Bust is Too 
Full il Pulls Up the Lining 




46. The Remedy is to 
Give the Lining More Size 
Across the Bus* 



make it bind. Slash the arm- 
hole a little until it feels just 
right. Do not slash it too 
much or your armhole will 
be too large. (111. 44.) 

Take off your lining, baste 
the shoulder seams and cut 
out the armhole on a line with 
slashes. Try the lining on 
again to be sure that it is 
comfortable and then stitch 
the shoulder seams. 

Diagonal %vrinkles in the 
back of the lining may be 
handled in the same way. 
The same alteration that is 
made in the lining should be 
made in the outside waist. 

ADAPTING PATTERNS TO 
A FIGURE WITH AN UN- 
USUALLY LARGE BUST. 
This is the case, not neces- 
sarily of a large figure, but of a 
figure in which the bust is 



26 



1 111, N I W I) K I S i M A K i; K 



larRO in proportion to the l>iist lui'iisurc. A woman niiH:ht nicasniv 'Mt inclios at (ho 
Inist and yot have a narrow hack and a very I'ldl l)iist. If tlic l>usl is only a little full, tho 
alteration can lit" niadc on the iinilcrarin sonn\ wlicn you try on llii' lining and waist. l'\)r 
an unusually larp:(' bust the alti'ralion nnist 1>(' in.-idc Ivd'ori' you cut your {jood lining and 
oulsidt' material. 

tJot some inc.xpeiisivo linins material. llnliUvu'lied niu.slin will answer perl'oetly. Lay 
out your jiatti'm, followiufr the iustruetions, and cut it out carerull>-. marUiuK the perfora- 
tions with tailors' tacks. (l^iRi" So.) I'ul the liiuni; tof;cther and turn under the lu>ms, 
followin>r the pattern instructions. 

Take a pie<'<' of the lininj; material six inches wide and loni; enouf^h to reach across your 
litiure to the uitderarm seams. Place it over your hust and i)iu it carefully to your lin- 
Rcrie. 

Put the lininir on. piiiuiny; the front totrether with the front cds^cs jusi nicetiiii;, idaciny; 
the pins about I ' ■> inch apart. 'Pho litiins; will draw in wrinkles that run from the bust 
downward toward the underarm seam. (U\. 45.) C5et some one to cut the linini; straight 
across the liirtu'e to the sido-front seam and from the side-front seam u|)ward to within 
throe-quarters of an inch of the notches in the armholo. When the liniuK is cut. it will 
separate as much as the lisure reipiires and will drop in jilace over tho bust. (111. 4(5.) 
Pin the edsres carefully to the i>iece of liiiiuix ui\derneath. (111. 40.) Take the lininj; otT 
and baste the edi;es of the slash to the (liece underneath. Try the lining on asrain to bo 
sin-e that it fits perfoetly. Take it off and rip it aiiart, cutlinir throusli the material 
underneath on a line with tho soams. 

These lininK pieces are not to bo us(h1 as a pattern, for muslin streti'hes and is not 
accurate. Take each piece of this alteri'd lininsr and tho correspoudii\!.; piece of llio pat- 
torn and niako tho sanio alteration on the pattern, usin^ the lininj,' pieces as a guide. 

Slash the pattern fronts like tho muslin 
and separati> the pieces of tho pattern 
^''^^•^ ''^ ''"' same way, and to tho same ox- 

r.ff^l)s^U^ tent, and paste a iiioco of tissue-paper 

under tln> slash. Keep tlio corrected 
tissue-papin' and use it for any dress 
that calls for a French lining. 

This alteration as it is illustfatod here 
is for a lisrin'o unusually full at tho 
bust. It will not, ot eourso, be neces- 
sary to niaUo such an extensive altiM-a- 
tion for fisruros of a more normal shape. 




ALTCRING PATIl-RN.S lOR A 
riGURL WITH AN UNUSUALLY 
SMALL BUST. For tho woman with 
an umisually small bust it is wiser to 
make up tho lininsi tirst in unbleached 
nuislii\ lieforo cutting into tho regular 
lining. Where tho bust is just a little 
under the average the alteration can 
be made at the underarnt seam. Tho 
alteration ilhistraled here is for an 
extreme ease. 

Cut a lining of unlileai'hed muslin. 
baste it together, turning under the 
hems and putting it on with the edges 
of the hems just meotii\g. Pin it care- 
fully. It will fall in wrinkles below the 
bust. (111. 47.) Here again the lining should l>i> slashed straight across to th<- side-front 
soaiu ai\d from tho sido-front seam upward to within -v, of an inch of tho armholo notches. 
(111. 48,') Uip the sta^shed edges until the lining sets smoothly over tho tigliro. Don't 
try to ntako it snug or tight. You should have plenty of room to breathe ooiufortably, 
and tho lining should not compress the ligure. 

Piu the edges of the slash. (.Ul- -iS.) Take otT tho UniiiK, baste in tlio alterations, 



III, -47, Herotlip Bust is 

5nioll in Proixirlion to tlie 

RosI of llio figure 



III. -48. 5onio of tlw Sao 

Must bo Token 

Out 



ALTERING WAIST PATTERNS 



27 




111.49. If Iho figure is 
Round-shouldered 



III. 50. The LininS Will 
Require More Size Across 



try il on again and if il tits pcrfoctly laltc 
it olT and rij) it ai)art. Tlio (kIkos of tiic 
sidd-front scams will Ixi jaKfTc*! whore 
the lining was lapped. Kven tliein otT, 
following tile original seam line. 

Correct your paper ))al1crn, siasliing 
the front and side front, lap the edges 
as mnch as in the lining, and paste the 
edges together. 

Alterations for an unusually large or 
small bust may l)e made on a French lin- 
ing; a liningwilh one or t wodarts, or a lin- 
ing wilh il straight or curved froul edge. 

AMIKINC, A PAfil l<N I O R A 

R O II N D - 5 H O U L D li K P. D FIGURE. 

Till' lining must be made up in cheiip 

material, lilted lo the figure and the 

alterations transferred to the pa|)er |)al- 

tern itself. Place a stri|) of the lining 

niali'rial about 4 inches wide across 

your shoulders from one arm to the 

other. Then put on the trial lining 

which will run in wrinkles from the 

underarm to the sido-back seams and stand tnit across the back (111.49) becau.se of (he 

rounil shoulders. 

Have some one cut the lining across th(^ shoulders to the side-back seams (111. .''jlti 
and from the scrams to within -'s of an inch of thi^ underarm .s(^am. The lining will spread 
apart and drop to the right place on your figure. (Ill- 50.) Have some one pi<i the cut 
edges of the lining to the piecM' biMieath it. 
Baste the pieces underneath and try it on again. 
If it sets satisfactorily, cut it apart and use the 
pieces in correcting your tissue! pattern. Slash 
the pattern .just where you slashed the lining, 
separate the pieces the same distance and i)lace 

the tissue-paper underneath the slash. ^ ^w_ i' 

If you are only a little round-shouldere<l, you L ^ -ifl^ Z—JlTLliv'''* 

will not require as grciat a separation. 

For a v(!ry bad case of round shoulders a 
se(!ond cut should be made across the trial lin- 
ing about one-third the distance between the 
neck and first slash. Slash across the center- 
back and side-back portions nearly to the arm- 
hole edge. Seliarate the slashed |)iec(>s as much 
as the figure requires, generally '/g to l^ inch. 
In cutting out the side back preserve an 
even curve along the back edge. The under- 
arm gor(! seldom needs any change. 

ALTERING A PATTERN FOR AN OVER- 
F.RF.CT FIGURF,. On an over-orect figure the 
lining will wrinkle across the shoulders. (111. 
.5L) Make up the hning in ch(-a|) nuislin and 

put it on (correctly. Have some one slash it across the center-back portion and down to 
side back to within ^ ti of an inch of the underarm scam. (111. ,52.) The odg(!S of the slash 
should be lapped and i)inned to remove the fulness in the lining. Don't lap the edges too 
much or the shoulders will pull back. 

Baste the slash, try the lining on and then rip it apart. Where it lias been lapped 
the seam edges will be uneven. Trim them off. Alter your paper pattern, using the 
trial lining as a guide, slashing it and lapping and basting the edges. 




UK 51. 



If a Woman 5lands 
loo trecl 



CHAPTLR 5 

ALTERING SKIRT. YOKE AND DRAWERS PATTERNS FOR 
FIGURES THAT VARY FROM THE AVERAGE 

Altering Gored Skirts for Figures with Round or Prominent Abdomen or Prominent Hips- 
Altering Circular Skirt Patterns for Figures with Round or Prominent Abdomens or 
Prominent Hips — Altering '^oke Patterns for Figures that are Large or Small 
in the Vv'aist — Altering Drawers Patterns for Figures with Prominent Abdomens 



ALTERING A GORED SKIRT PATTERN FOR A PROMINENT ABDOMEN. On fig- 
, ures of this type a skirt p;ittern unless it is altered will stand out at the front and 
at the sides. These women as a rule have flat backs. A .■^mall pad worn under 
the corset at the back will fill in the hollow of the figure below the waistline. 

For a round or prominent abdomen or prominent hips it is adNisable to cut half the skirt 
in cheap muslin before cutting your good material. In working with the muslin find 
out just what changes are necessary to make the skirt fit your figure. Then it will be 
safe to cut your material. 

Illustration .53 shows the alteration 
that is necessary to make a pattern 
fit a figure with a prominent abdo- 
men. The front of the skirt pattern 
must be extended an inch or more at 
the top, this extension gradually de- 
creasing to nothing at the hip. 

In extending the gores the waist- 
line becomes smaller, so the side 
edges of the gore must be increased 
to keep the waistline the original 
size. (111. 53.) This extension at 
the sides should slope to nothing at 
the hipline. (111. 53.) Lay your 
pattern on a cheap mushn, mark the 
allowance at the top and side edges 
of the gores. Mark the outline of 
the original pattern on the muslin 
with colored chalk so that you viiW have the original shape as a guide in fitting, but cut the 
mushn by the new larger outhne. 

Cut out the muslin, put it together and baste the skirt to an inside belt. Try it on. 
If it takes a good line on your figure and does not s'nang toward the front it is safe to cut 
jour good material just as you cut the muslin. Do not use the muslin for a cutting 
pattern for its edges stretch and become unreliable. Always cut from a paper pattern. 

A WOMAN WITH A ROUND ABDOMEN should take the side-front gore of the pattern 
and mark the hipline on it seven inches below the normal waistline. (III. 54.) At the hip- 
line on the liack edge of the gore take up 34 of an inch. (III. 54.) This J^ of an inch 
will change the entire balance of the gore, malring the pattern hang straight instead of 
swinging toward the front. 

If it is necessary in a skirt of many gores you could do the same thing to the next side- 
gore, but do not carry this alteration back of the hip. You can increase the size of the 
dart-shaped plait if necessary until the back edge of the gore above the hip forms a 

28 




111. 53. 



Altering a Gored Skirt Pattern to Fit 
a Prominent Abdomen 



ALTE.R1NG SKIRT PATTERNS 



29 




III. 54. Alteration on a Gored 

Skirt Pattern for a Round 

Abdomen 



straight lino with the back edge 
below the hip. (111.54.) The 
back edge must never become 
hollow or concave. (111. 54.) 

FOR PROMINENT HIPS 
take the gore i)attern in which 
the front edge (^omes over the 
fullest part of the hips. 
P i n t h o pattern together 
and try it on th(^ lignre, to be 
sure which gore this is. 

A simple alteration is made 
in this gore such as is made for 
a round abdomen. Take up a 
dart-shaped plait J 4 of an inch 
deep at tlie back (>dge of the 
gore, letting it slope to nothing 
at the hip. (111.55.) If neces- 
sary in a skirt of many gores, 
the next gore toward the back 
can be altered in the same way. 
But the shajie of the back gore 
should never b(> changed in al- 
tering the skirl pattern to fit 
the prominent hip. These prin- 
ciples can be applied to any 
gored skirt pattern. 




III. 55. Altering a Gored 5kirt 

Pattern to Fit Prominent 

Hips 







■^< 



"^^a' 



%-^/^ 






%: 



'"IL 



'^^ISfi 



lINE 



ALTERING A CIRCULAR SKIRT FOR 
A PROMINENT ABDOMEN. If a woman 
has a slightly rounded or a decidedly promi- 
nent abdomen an alteration is necessary to give 
her extra length at the top. If this alteration 
is not made in cutting, the skirt will draw up 
in front and staiid out in an ugly manner. 

The amount of the alteration will depend on 
the prominence of the abdomen. It ma\- be 
'^ ' necessary to add from J4 an inch to 1 ! •_> inch 

to the skirt at the center-front, li-tting this 
allowance slope to nothing at the hip. (111. 56.) 
If t he abdomen is decidedly ])rominent it is l)ct- 
ter to lay the skirt pattern on muslin first , mark 
the outline of the edge of the pattern willichalk 
or bastings and leave sufficient material beyond 
the outline to raise the waistline as much as 
necessary. It should fall in a straight line 
from the fullest part of the abdomen to the bottom. In extreme cases it may be necessary 
to put a dart at the center-front, but usually a slight easing into the belt of the skirt at 
the front will be sufficient. 

In extending the top of the skirt you make the waistline smaller, so if the waistline was 
the correct size for you in the first place it will })e necessary to increase the size of the new 
waistline to keep it to the original size of the pattern. 

If only a small increase is needed, the sldrt can be lifted a little at the back, which will 
increase the waist size. For a decidedly prominent abdomen slash the top of the muslin 
at three places to the hipline (111. .'J7), lay the pattern on the muslin and mark the new out- 
line on the top, separating the slashes sufficiently to make the new waistline the right size. 
(111. 57.) This will take a little width out of the lower edge of the skirt, for you 
will find it necessary to lay plaits in the pattern in order to make it lie flat on the 
material. 



lU. 56. 



Altering a Circular Skirt Pattern to 
Fit a Prominent Abdomen 



30 



Til 1 N 1 W DKr.S^SMAKILR 




111, 57. Iiitt<'ii.siii<; ll«> \v'.\ist .Si/<' o( 11 Circiiliir .SkitI Potlorn 



Mm sniiui iillowiiiu'o on your 
jjood nmlcriiil 1 1ml you uuulo in 

culling;' llii' luiisliii. 



(^u( oul llu> nuisliii in tlio 
now <)M(lin(\ basic il to tlio 
inside l)i>ll and try it on to 
be sum llial it (Iroi)s in a 
straisfhl lino and doesn't 
poko out oi- swiufj at I ho 
front. 

ir llu> n\uslin skirt falls 
in siood lines cut a papi'r 
pattern with the eorreeted 
lines at the top and the 
ri^rlit size at the waistline, 
usinK the orijiinal pattern 
to eut from. Don't eut 
from the nnislin. Or you 
can cMl directly from the 
ori);inal |)attern making 




--k'^e 7,NCHES1 FROMi!025^ 




POINT AT HIP LIhE 
OVER FULLEST PART OF HIP 
III. 58. .Mtctin^i n C ircuLu .^kill l\ittt*ri» to tit PrDiiiiiicnt llii)S 



Al II 1^1 ISC. A CIRCIH.AR A ^Orhal 

.SKIUI I'Ani RN lOR A lIGURri. 
\\llll PROMINI Nl 1111\S. Mark 

I he hiplinc on the palti>rn seven 
inches Uelow the normal waist- 
line. At the hipline on the hack 
I'd^c of Ihe patli>rn take up a 
darl-shaped plait ' :> inch dt<ep 
and laper it into nothing at a 
point jusi ox'er Ihe fullest part of 
Ihe hip. (111. ,">.S.) Slash tlu> pal tern from lheuppi>r ed^o to the hipliiu> to make the pattern 
lie Hal. (\\\. ,"),S.) 'Phis will increase Ihe si/.e of Ihe waist. The extra fulness can either 
he eased into Ihi^ belt or taken up in a small dart when making; Ihe skirt. In culling the 
skirl till in lhi> narrow edge above Ihe plait, kei'pins the back vd'^v slraiKhl. (\\\. ,")S.) 

.M II KINt'. .A ^\">KI PAiri RN. If vour waist is lari;e or su\all in proportion lo 
\our hips il will be necess.ary lo alter I lie Wftist size of a circular yoke pattern. The 
alteration is very simple. 

If the wjiist size is loo small for you slash the yoke pattern from the uppi'r eilse to the 
hiplini', making Ihe slashes in three places. UH. Tiit.) In openine; the yoke paltt>rn on 
your material spread Ihe ui)per ed^'e until il is Ihe riRht size for you. (,111. ">!).) 

If Ihe waistlint- is too huye for ytni. make three dart-shaiH'd plaits on the yoke pattern, 
laying' Ihe plaits on the uiipi'r eili;<' and lettinsi' lhei\i taper to nothins; al Ihe hipline. (\\\. 
(iO.I The depth of Ih.' plaits depends on lln' amount of alteration reqiiinnl. 

Al IlKINc- A nUAUIKN I'AIIIUN 1 OK A IK-liRI \\irH A LARGE ABDOME.N 

ir M wouKin has a hiri^i" abdomen and cuts her drawci-s exactly by Ihe liallern, her 




III. 5;). liKn>n.sinS Iho Waist Size 
ol Iho Yoke Pallern 




111. (iO. 



Ptxrcnsinfi tho Woist 5izo 
of tho Yoke Pattern 



ALTERING SKIRl PAITI-RNS 31 

ivbdonuMi will pull Ihoiiniwors towiiril tlic I'roiil. It' Iho ilrawors arc lifli^d at (lie liack 
to correct this tciidcticy, the cnlir(> iianncut will he made shorter. 

In ciiltiu.!; drawers for a prominent ahdomen allow an extra inch or two at the top. 
taperintr the allowance aw-iiy to nothing: ov<'r the hip. In circular drawers the upper ed^e 
of the drawer pattern must he slashed and spread to ^ivc the drawers (he original waist- 
line, which is made smaller in makinjr this allowance. This alteration is practically tlu' 
^ami> as altering the lop of a circular sUirt for this typi' of liijure. (\\\!i. "Hi and .">".) 



CHAPTER 6 

MATLRIAL5-5PONGING-5TLAMING-CUTTINC^LTC. 

Right Side of Material — Sponging — Steaming — Nap or Pile — Cutting Stripes, Plaids, Figures and 
Diagonals — Cutting a Kimono Sleeve Gamnent — Handling Velvets — Silks and Chiffons 

THE RIGHT SIDE. Most materials have a right and WTong side. In double-fold 
materials the right side is folded inside to protect it from becoming shop-worn. 
In materials where it is difficult to tell the right side from the v\Tong the selvedge is 
usually smoother on the right side than on the wTong side. In serge or diagonal weaves 
the twills run downward from left to right on the right side of the material. 

SPONGING. Almost all the wool materials should be sponged before thej- are used. 
Sponging shrinks the material and if it were not done before the material was made up the 
material would shrink the first damp day and ruin the appearance and possibly the useful- 
ness of the garment. Sponging also i^revents the ordinary spotting from rain, drops of 
water, etc. It is a necessary protection to your material. 

There are certain wool materials such as velours, duvetyn, wool plush and materials of 
similar character that should not be sponged. Very thin, open-meshed materials should 
not he sponged either, but most wool materials should be sponged either at the store where 
you buy them or at home. Most large shops will do the sponging for you, but it is eas.y to 
do it yourself . If you are uncertain as to whether your material should be sponged or not 
experiment with a small piece of it first. If it shrinks too much or changes its a ppearance 
or color, do not sponge it. 

For sponging you will need a large table and ironing blanket and a strip of hea\y un- 
bleached muslin the width of your material and one-half its length. 

Before sponging your material cut off the selvedge or clip it at intervals. Lay your 
material face down on the table. Wet the muslin with cold water and WTing it out. 
Spread it out, pulling out all the wrinkles and lay it over half of your material. Fold 
the other half of the material over it, roll the material and sponging cloth together in a 
tight roll and let it lie overnight, covered with a piece of muslin and some newspapers so 
that the moisture will be retained. 

In the morning unroll the material, pressing it dry on the wrong side as you um-oll it. 
In sponging material of double width open it out its full width and sponge it in the same 
way, using a double width of muslin for the shrinking process. 

The hea-ider wash materials of the cotton and linen order should be shrunk in the same 
way before they are made up. 

Voiles, fine mulls, organdies, Swisses, etc., are not to be shrunk, for the shrinking changes 
them too much and they are not as pretty afterward. 

STEAMING. Certain wool materials, such as velours and duvetyn should, be steamed 
instead of sponged. Use the same table, ironing blanket and unbleached muslin as for 
sponging. Lay the material face down on the blanket as for sponging. Wet the muslin 
and laj- it over the material as for sponging. Hold an iron so that it just touches the 
material enough to let the steam go through the material. Pass it over the muslin, but 
do not let it i-est on it or it will mark the material. It must just touch the mushn. 

NAP OR PILE. Velvet, velveteen, panne velvet, corduroy and plush, and a few wool 
materials hke broadcloth have a distinct pile or nap. Except in the case of a kimono 
sleeve garment the nap or pile must run the same way in every part of the garment. In 
materials with a pile such as ^ehet, velveteen, corduroy or plush, the material must be 
used with the pile running up so that the nap will fall out and show the full richness and 

.32 



MATERIALS — SPONGING — CUTTING — ETC. 



33 



depth of color. IF the pile ran down 
it would flatten down and lose its 
appearance of thickness and depth. 

With panne velvet in which the 
pile is purposely flattened the pUe 
should run down. 

You can tell which is up and which 
is down by running your hand across 
the material. When the material 
feels rough the pile is running up, and 
when it feels smooth under your hand 
it is running down. 

Some velvets have straight pile 
with no up or down. They can be 
cut either way. 

In broadcloth the nap must run 
down, otherwise it will roughen up, 
become woolly and wear badly. 

In all materials wdth a nap or pile 
the material takes the Ught one way 
with the pile running down, and an- 
other way with the pile running up, 
so that if all parts of the garment were 
not cut with the pile running the 
same way the garment would look as 
though it were made from two shades 
of the same material. 

In kimono sleeve garments that 
are cut without a seam on the shoul- 
der or in one piece it is impossible to 
have the nap or pile run the same way 
at the front and back. Get the best 
effect possible at the front, the back is 

less noticeable. In the pile fabrics let the pile run up in the front, in broadcloth and panne 
velvet have the pile run down in the front. 




lU. 6 1 . Matching Cross Stripes at Underarm 5eam 



CUTTING STRIPES AND PLAIDS. 

care in cutting than plain materials. 



Stripes, plaids and figured materials require more 



AN IRREGULAR PLAID can rarely be used on the bias, consequently the ways of 
making it up are limited. A dress made of irregular plaid requires more material than 
one made of regular plaid. The darkest stripes should nm across the bottom with the 
Ughter tones up, as the shading in this direction is better. 

It must always be borne in mind throughout the cutting, that aD pieces of the pattern 
must be placed with the upper part in the same direction on the material. An amateur 
had better use an even plaid. 

In the beginning decide which stripe, plaid or figure is best for the center of the front and 
back. 

In making a waist of striped or plaid material the stripes or plaids must match. It is 
advisable to cut and fit your waist lining first, if you are using one. Then if alterations 
were made you can alter the pattern of the outside waist before cutting your material. 
If you altered it afterward the alteration would spoil your arrangement of the stripe or 
plaid. 

A plaid waist should be cut with as few pieces as possible. It can be made 
either on the straight or the bias of the material. Before you cut out your ma- 
terial decide which stripe, plaid or figure will look best at the center front and 
center back. In considering the position of the lines of the stripes and plaids you 
must consider the crosswise as well as the lengthwise hues of the material so that 
it will look well on the figure. In a plaid waist match the heavy hues of 
the plaid where the waist is joined at the underarm seam. (111. 61.) Arrange the plaids 



34 




THE NE.W DRL55MAKLR 

so that when the waist lis closed the closing 
will not break the perfect succession of the plaids. 
The crosswise plaids in front must be on a line with 
the plaid in back so that when the underarm seam is 
joined the plaids will match perfectly. (111. 61.) 

When making a waist of striped material, if the 
stripes of the material ai-e cut bias or if the waist 
itself is cut on the bias, follow the same rules given 

in the paragraphs 
above for cutting the 
plaids. 

CUTTING A 5K1RT 
OF PLAID. In cut- 
ting a gored skirt 




i>A. ei^iiiL-i t5cn.k or Front 
5eam of Circular 5kirt 




., I I. .■Ml, -I I r>.|,i . .1 I . :, L 

^eam in ikirl ol Plaid 



. .^ 1 'laid dl 5ide 5eams 
of Skirl 

of plaid material decide on th( 

line or stripe that will look best ai 

the center front. After the front is 

cut, la.v it on your cutting table and 

place the uncut material beside it 

with the lengthwise and crosswise 

stripes matching. (111. 62.) Place the pattern of the side 

gore on the material, matching the front, and cut it. 

Matching a plaid or stripe in this wa\' frequently means 

wasting some of yoUr material. That is unavoidable, how- 
ever, for the plaid or figure must match even if the pattern 

has to be moved the width of a plaid or figure before the cor- 
rect position is found. Cut each gore of the skirt in the same 

way so that the stripes and plaids will match in every gore. 

illustration 62 shows a sldrt cut of plaid material. In this ease the uncut material had to 

be lifted up in order to match the crosswise plaid, making it necessary to waste some of the 

material at the top. (III. 62.) This happens so frequently in cutting plaids that you 

must buy extra material for a plaid skirt or dress. 

Striped, cheeked and plaid materials are very good-looking in a two-piece circular skirt 

with a bias seam down the front. (III. 63.) The 
pattern will give you explicit directions for cut- 
ting it in plaid or striped materials, so that you 
will get the proper bias at the seam. Follow the 
diretKions carefully. 

In cutting a circular skirt of plaid or striped 
material cut one side first and then remove the 
pattern. Lay the piece that you have cut upon 
the nuiterial and match the plaid or stripes at all 
points before cutting other half of the skirt. 
When the skirt is put together the prominent lines 
of the plaids or stripes should have a mitered 
Maichins.heDesignin effect as shown in Illustration 63 and lUus- 

. l^iguredSilk tration64. 




111. 65. 



MATERIALS — SPONGING — CUTTING~LTC. 



35 




5lip-stitchinS the Breadths 
Together 



FIGURES AND FLOWERS. Materials with fig- 
ures and flowers must also be niatehed carefully 
at the seams. Usually otie line of flowers runs u]) 
and the next line down, but when they all run the 
same way you must decide whether you want 
them to run up or down in your dress and use them 
in the same position in every piece. Otherwise 
your dress will have a very peculiar effect. In cut- 
ting a skirt, etc., where several breadths are joined 
together it is important that the pattern or figures 
should match at the seams. This can not always be 
done by simply joining breadths at the selvedge. 
It will sometimes be necessary to lap the second 

breadth over the first, as shown in Illustration 65, to bring the corresponding figures to- 
gether at the seam. Turn under the edge of the second breadth and pin io in the correct 
position. .Join the other breadths in the same way for both sides of the skirt. Slip-stitch 
the breadths together from the outside by slipping the needle along inside the fold edge of 
the upper breadth and then taking a stitch in the under breadth as shown in Illustration 66. 
When the skirt is tiu-ned inside out it \\ill be found that the slip-stitehing forms a basting 
of the joining. It is usually better to cut off the selvedge, for the material will give more 

if the selvedge is cut. 
^^ In cutting a gored skirt if there is a decided fig- 

ure in the material, fold the front lireadth length- 
wise through the center of the figure so that the 
design will balance and not make the skirt look 
one-sided. 

If the sldrt has no seam at the front lay the 
front edge of the pattern even with the fold and 
cut the gore. Place the pattern of the first gore 
upon the second gore and mark the design of the 
material upon the pattern. Lay this second gore 
pattern on the material so that the figures marked 
on the pattern will match those on the material. 
Cut each gore as directed here. 

CUTTING DIAGONALS. Diagonals should 
not be cuo with two bias edges meeting as the 
lines will come together at entirely different 
angles. (See illustration 68.) This ditliculty 
can be overcome if you have wide enough ma- 
terial. A diagonal rarely has a perceptible nap 
and the lengthwise and crosswise of the material 
are so alike that there is no dissimilaritj' either in 
appearance or in wearing qualities between 
them. So if you want the diagonal to run the 
same way in both sides of your garment cut one-half lengthwise of the material and the 
otlu>r half crosswise. (III. 67.) Before doing so you must make certain that there is no 
l.)erceptil>le difference in color and shading between the crosswise and lengthwise of your 
material. Take it to a strong light and turn a bit of it at right angles to itself. Tliis 
brings the lengthwise and crosswise thread in the same position they will take in the gar- 
ment and you can easily tell if it is safe to cut your material that way or not. 

Each half of the garment wiU have to be cut separately and neither the front 

nor the back can be cut on a fold of the 
goods. 

First cut one-half of the garment l(>ngthwise of 
the material, then lay this half on the material 
crosswise with the right sides together and the 
diagonals of each piece exactly over each other, 
and running exactlv in the same direction. (111. 
67.) 




III. 67. Diagonal Cut for a Bias Seam 




36 THE.NE.WDRLS5MAKLR 

CUTTING A KIMONO SLfLtVE GARMENT. Often in cutting a garment with Idmono 
sleeves the material will not be wide enough to cut the pattern without piecing. 
This piecing seam can be made to appear part of the design by trimming it to match the 
trimming of the garment. The seam can be hemstitched, fancy-stitched, piped, machine- 
stitched, and, in the case of thin materials, trimmed with lace insertion, etc., so that the 
seam will really add to the effectiveness of the sleeve. 

HANDLING VE.LVE.T5. SILKS AND CHIFFONS. In using velvets, plushes, corduroy, 
or silk be very careful about using pins. LTse fine steel pins or needles, so as to mark 
the material as little as possible. Ordinary pins make holes in silks and chiffons and scar 
velvets, plushes, etc. 

A fine needle and silk thread should be used in basting velvets, etc., and also in bastiijg 
silks, for cotton thread leaves a mark. 

When stitching velvets, plushes and corduroy, loosen the tension on the machine and 
lighten the pressure of the presser foot by holding the linger under the presser liar lifter. 

Clip your bastings ever\ four or five inches or even closer when you are ready to take 
them out. Pulling long basting threads from silks, velvets or fine thin materials is likely 
to make a bad mark or tear the material. 

In stitching sheer materials like chiffon, silk crepe, crejje de Chine, etc., that are likely 
to pucker while the stitching is being done place a naiTow strip of tissue-paper under the 
material where you are going to stitch it. After it is stitched tear the ))aper away. 

When using materials that fray easily allow an extra quarter of an inch on all ordinary 
three-eighths of an inch seam edges. This e.xtra one-quarter of an inch allowance must 
not be overlooked when you baste up your garment. No extra allowance is necessary 
on the outlet seams. (Marked by large single perforations.) As soon as you have cut 
out the garment overcast the armhole and neck edges. 

In silk materials like taffeta, crepe de Cliine, charmeusc, satin and materials of similar 
character the selvedge edges are often used as a finish. Of course this is oidy possible 
when the edge of the pattern is straight as in the case of a straight-edged tunic, straight- 
edged flounce, etc. 



CHAPTER 7 

WAI5T5, BLOUSL5 AND 5HIRT-WAI5T5, 
PART I.-DRL5S WAISTS 

Patterns — Cutting — Lining Materials — Making the Lining — Altering the Lining — The Lining 
Seams — Lining Closing — Inside Belt — Finishing Ldges of Lining — Putting Together Outside 
Dress Waist — Finishing Outside Dress Waist — Collar — Collarless Neck — Sleeves — Armhole — 

Waistline of Dress Waist 

PATTERNS. Purchase dress waists, shirt-waists and blouse patterns by the bust 
measure. ("Chapter 2 on Butterick Patterns, page 1() — Correct Way to Take the 
Bust Measure.) The right size is very important for it does away with unnecessary 
fitting and altering. 

A woman may measure exactly thirty-six inches in the bust and yet be longer or shorter 
waisted than the pattern, or have a longer or shorter arm. Before cutting yom* material 
compare the lengths of the waist and sleeve with the corresponding lengths of the person 
for whom the waist, etc., is being made. (Chapter 3, pages 19 — 21). Sometimes it is difficult 
to get the length of the pattern itself when a neck is open and the sleeve is kimono. But- 
terick patterns are made the correct length for a figure measuring al)out 15 ,'9 inches from 
the normal collar seam at the back of the neck to the normal waistline at the center back. 
If a pattern is long or short waisted for you, or long or short sleeved, alter it according to 
instructions given in Chapter 3, pages 19, 20 and 21. 

If your figure is unusual in any way, large or small in the bust, round-shouldered, etc., 
the pattern should be altered according to instructions given in Chapter 4. If it is neces- 
sary to make any alterations in the pattern it is best to make them in the lining first, 
if the pattern has a lining. The same alterations can then be made in the outside. 

CUTTING. Before cutting your material read Chapter 6 on Materials, Sponging, 
Steaming, Cutting, etc. 

LINING MATERIALS. China silk, silk mull and the better grades of percaUne are 
the best lining materials in silk and wool. 

Brussels net may be used in silk or cotton materials. 

Lawn may be used for a lining in the hea\ier cottons. 

Brussels net and Georgette crepe are the linings used for lace, chiffons, Georgette, etc. 

Mousseline de sole is also used for the lining of an evening dress. 

In dress waists, etc., where it does not show, the lining sliould be of white or 
flesh color. L'nder a transparent waist the hning should be the same color as the sldrt 
or drop skirt, otherwise there will be a sharp break in color between the waist and skirt. 

Lay the pattern on the material following the layout for your size pattern and width 
of material in the Deltor Layouts. If there is no Deltor in yoiu' pattern follow the instruc- 
tions given in the pattern for cutting. 

Some dressmakers advocate cutting cotton Unings crosswise of the material although 
the material does not cut economicaDy that way. The advantage is that material cut 
crosswise will give very Uttle, if at all, and the lining may be further strengthened by making 
it double at points where the greatest strain will come. 

Mark all the perforations with tailors' tacks. (Chapter 16, page 8.5.) 

Mark all the notches with contrasting colored basting thread, taking two or tliree 
stitches to mark each notch. Or instead of marking the notches you can cUp them, cutting 
them sufficiently deep so that you can see them easily, but no deeper than is absolutely 
necessarv. 



38 



I n F N r \\' n R p s s N| \ Is r u 



THE. LINING. If the 
waist has a lining ii 
should be made bcfor-. 
the outside waist. The 
lining in a dress waist 
protects the dress aert)ss 
the shoulders, holds it in 
place on the body and 
holds the dress-sliields. 

R F. I N F O R C I N G . 

For a stout figure the 
waist lining should be rt> 
inforeed. (HI. 7.'5, page 
40.) Before basting the 
darts or side front seams 
baste an e.xtra piece of 
the lining to the front of 
the waist to the under- 
arm seam. It should reach 
from the bottom of the 
lining to just under llie 
bust. When the darts am! 
s(«ims are basted the re- 
inforced pieces are in- 
cluded in the seams. 
In a waist fastening 




tinish for a Camisole Lining 




111. 70. The tiiiish for a Blouse Lining 



at the back, the back 
portions should be re- 
inforced to a correspond- 
ing height. 

PUTTING THE LIN- 
ING TOGE.THLR. Baste 

all the piec(^s together, 
carefully, following the 
Deltor for putting to- 
gether or the Illustrated 
Instructions included in 
the pattern. 

I'ul the lining on, 
liringing the two closing 
( (Iges together. Pin 

them carefully, placing 
the first pin at the waist- 
line. Smooth the lining 
o\er the ttgure both 
front and back and be 
careful that the waist- 
line of the lining is at the 
waistline of the figure. 
Make any little altera- 
tion at the outl(4 seams 
and at the front edge. 

.\ blouse or camisole 
lining (Ills. Oi) and 70) 
should be a little easier 
in fitting than a fitted 
lining except when the 



DRL5S WAISTS 



39 







"^.- 



III. 71. Seams Slashed, Overcast and Bound 



camisole lining is used for an evening waist. 
Draw the lining up well at the shoulder seams, 
but not enough to draw it from your waistline. 
It may be fitted at these seams a little more 
snugly in a final fitting. 

ALTtRING TH.L LINING. Sometimes after 
the shoidders are carefully' pinned there wdll be 
wrinkles in the front between the shoulder and 
neok. These wrinkles are caused liy the natural 
hollow of the shoulder. In this case the shoulder 
scams must be ripped open and the front stretched 
to the back from the center of the shoidder to 
the neck. Wrinkles at the back near the neck are 
often caused by the lining being too long-waisted. 
Or the shoulder may have been sloped too much 
if the person is very square-shouldered. It is 
better to rip the basting and pin the seam again. 

If the waist draws to one side it means tlie 
waistlines have not been pinned together at the 
line of basting. The top of the darts, if there are 
any, must come just below the curve of the bust 
and they may be raised or lowered if necessary. 
If the armholes feel too tight be careful not to 
gouge them out under the arm or at the front. 
Snip the armholes about ^g of an inch, to give 
sufficient spring for the arm. If it isn't enough 
pare the edges off a httle and snip the seams a 
trifle deeper. If the neck is too high or tight 
cut it out the same way, taking care not to do 
too much at once. 

Pin the alterations and mark carefully the line of pins with tailor's chalk. Without 
removing the pins baste through chalk marks keeping a well-shaped hue for the seams. 
Try the lining on again to be sure that the alterations are right. Stitch the seams just 
outside the basting so as not to make the waist smaller, bearing in mind that the sewing 
of the seams will tighten the lining a trifle. Stitching outside the bastings also allows you 
to take them out, for if you stitch on top of them it will be impossible to puU them out. 

THE LINING SLAMS. In stitching the side-back seams have the back next to the 
feed of the machine and the side back ne.xt to the presser foot, and hold the parts well 
up at each end of the presser foot. Otherwdse the side-back seams are lialile to pucker and 
pull when being sewn. In making seams in which one portion is fulled on to another, place 
the full portion downward ne.\t to the feed because if it is placed ne.\t to the presser 
foot, the foot would be likely to push the fulness out of place. 

In a blouse or camisole lining the seams can be French seamed (Chapter 17. page 86), 
or bound with seam-binding, (page 88), or finely overcast. (Chapter 16, page 82.) Use 
ribljon seam-binding on silk, and lawn binding on a cotton lining. 

In a fitted lining notch the seams at the waistUne and two or three times above and below 
it, enough to allow them to lie flat when pressed. Bind the seams neatly with ribbon 
seam-binding, run on loosely and press them open. (Page 88.) Some dressmakers prefer 
to overcast the seams closely and most imported French dresses are finished in that way. 

In some linings, especially those of lawn, the seam edges are simply pinked. Illustra- 
tion 71 shows a seam edge bound, another overcast, a third notched and ready to bind. 
It also shows the notching necessary to make a side seam lie flat when it is pressed open. 

THL LINING CLOSING. If a hem is allowed at the closing edge, the hem or closing 
hne is usually indicated by a notch at the top and another at the bottom of the pattern. 
Fold a line from one of these notches to the other, keeping the hem an even width. Later 
this wiU be turned over for the closing. Make a stay for the hooks and eyes from an extra 
strip of thin lining two inches wide. Fold it lengthwise through the center and place it 



40 



THF, NLW DRL55MAKLR 



on the inside of the liuins with a t'ohl at the line that marks the closing. Turn o\ov l)oth 
thicknesses and haste tliem very earefully. Tlien stiteh wnth one row of stiteliing 'o of 
an ineh from tlie edge and another ■*,< of an ineh inside of that. (111. 71.) 

Wiiere no hem is aik)\\cd at the (^losing edge of the lining 
it is noeessar\- to faet> it. Cut two pieces of the lining 
^_^^^_^^^^^^^^_^^_^ mati'rial the same outhne as the front or back where the 
■F~''^"^^MK opening comes, and about two incites wide. Baste one on 

p ^ iil^B^'^ "'^' outside of each front or back with their right sides 

I ' '^B ^^ together. Stiteh the seams and turn the facing o\er toward 

** -""^^1 • ' the itiside. Stitcli it Just as you would a hemmed txlge. 

Hooks and eyes are then s(>wed on. (C'lia^iler 24, 

page 1 Ki.) Sew tlie hooks and eyes right througli tlie lining 

allowing the stitches to go througli to the right side so as 

to make the sewing strong and durabU'. Be careful in sewing on tlu> hooks and <\ves on 

the second side ti) ha\e them exactly correspond in position to those of the opposite side. 




ill . J. Ii..,.k ,,ll>l I M- 

Liids of bell Tape 



in fitted linings. Get the regular 



INSIDE BELT. An inside belt is sometimes used 
silk or cotton bt>11ing for this purpose and 
make it tliree inches longer tlian your 
waist measure. Turn back an inch and a 
half at each end, sew on a hook on one edg<' 
and the eye on the other (111. 72), and 
hem the raw edges o\er their ends. (111. 72.) 
JSIark the center of the belt and sew it to 
the center front seam if the lining opens 
at the back. If it opens in the front, sew 
it to the center back of the lining with the 
lower edge of the belt half an ineh above 
the normal waistline. (111. 73.) Sew across 
the width of the belt with a long cross- 
stitch to the inside of the seam. 

FINISHING THE NECK AND ARMHOLL 
EDGES OF THE LINING depends on the 
lining material and on the waist material. 
In silk or cotton linings turn the edges 
under; clip them whene\er nwessary to 
make them lie tlat. In the silk lining finish 
them with ribbon seam-binding sewed on 
flat like a facing. In a cotton lining use 
lawn binding in the same way. 

Niirrow lace may be whipped to the 
edges. (lU. 70.) This is always done in a French dress or any good dress. 

If the lining is of net or Georgette, narrow lace may trim the neck and armholes. (111. 70) 
Apply the lace as explained in Illustration 311, page 134, or the edges may be finished 
with a narrow bias facing (Cliapter 19, page '.)4) of the lining material and narrow lace 
whipped to the edge, or the neck and armliole edges may be picoted. (Chapter 2.3, page 1 19.) 




III. 73. . Reinforcement. Bound Seams. Inside Belt 



THE TOP OF A CAMISOLE LINING used under transparent materials may be 
finished with a facing of the lining material. Or an allowance may be made for a hem if 
the pattern has none and the hem used to form a casing. The knver edge of the facing 
or hem may be machine hemstitched. One or two additional rows of hemstitching may 
be put below as a trimming. L:iee may be whippwl to the top if desired. (111. (59.) Work 
a buttonhole in the lining at each side of the center, run a ribbon through the easing (111. 09) 
and tie the ribbon in a bow. 

A wide band of lace n\a.v be used to trim the top. (Chapter 27, viage 134.) 
Or the top of the camisole lining may be turned to the outside and covered with lace 
beading. Uibbon is run tlu'ough the beading and tied in a bow. 

The shoulder-straps of a camisole lining may be of ribbon or lace. (111. 69.) 

The finish of the lower edge of the lining depends on the design of the pattern of the 



DRL55 WAISTS 41 

waist. If it is a fitted lining extending below the waistline and not attached to another 
edge, it luay be finished according to the instructions for finishing the neck and armhole 
edges of silk or cotton linings on the preceding page. Or the edge may be simply bound 
with seam-binding. 

THE OUTSIDE WAIST should be put together according to the Dehor or Illustrated 
Instructions with the pattern. 

If any alterations were made in the lining the same alterations should be made in the 
outside waist. Try the waist on to be sure that it fits properly. 

FINISHING THE OUTSIDE WAIST. The finish depends on the material and the 
design of the pattern. The seams are finished differently for silk, wool and cotton. 
(Chapter 17.) 

The underarm seams of a kimono waist made of a non-transparent material should be 
cUpped to prevent their drawing at the curve. They are then finely overcast or bound with 
seam-binding. If the material is transparent, cut away the seam to one-quarter of an inch 
width and overcast it finely, or have the seam machine hemstitched. (Chapter 25.) 

Piecing in a kimono sleeve where the material is transparent should be machine hem- 
stitched. (Chapter 25.) In any other material it may be piped. (Chapter 26.) In 
silks or satins the piecing seam may be machine hemstitched or fagoted. (Chapter 25.) 

THE COLLAR. Removable and attached collars for the open neck and the high 
coUar are given in Chapter 23, page 1 10. 

FINISHING A COLLARLE5S NECK. In sheer materials the edge of a coUarless 
neck may be picoted (Chapter 25, page 1 19) or bound with a bias binding (Chapter 26, 
page 131). 

In silk, satin, heavier cotton materials and Unen the neck edge may be bound. 

In wool materials the neck edge may be bound with a lighter weight material Uke satin, 
or with braid. 

In any material which is not sheer the neck edge may be picoted. 

A soft finish is much used on silk and wool materials and on velvet. For this soft finish 
turn under the seam allowance on the neck edge and cover it with seam-binding sewed on 
flat like a facing. No sewing should show on the outside. In silk and wool materials if 
there are seams or closing edges or embroidery or trimming of any sort, the inner edge of 
the seam binding may be tacked to the seam, closing edge, etc. In any other case it should 
be left free and simply lie flat against the edge. Press the neck edge and since there 
is no strain on it the seam-binding will he flat against the neck and stay in place. In 
velvet the inner edge of the seam-binding may be bhnd-stitched, for this can easily be 
done in\ isibly on this material. In heaxier cotton and hnen materials use seam-binding 
as a facing. The inner edge must be hemmed invisibly or stitched in place on wash 
materials. 

THE SLEEVES are considered by some people as the most difficult part of a costume. 
Great caution is necessary to keep them exactly ahke, from the time the sleeves are cut 
until they are finished and sewed in the armhole. If not correctly cut and basted, one 
sleeve may b? larger than the other. If they are not stitched in the armhole exactly alike, 
one may twist while the other hangs without a wTinkle. The finish of the bottom of a 
dress sleeve is handled in Chapter 23, page 11 L 

In sewing in a set-in sleeve hold the sleeve toward you when basting it or sewing it by 
hand, for it is easier to control the ease or fulness in this position. 

THE .ARMHOLE. Do not bind the armhole. After the sleeve has been sewed in, overcast 
the armhole seam unless the material is transparent and is to be machine hemstitched. 
In sheer material which is not hemstitched the armhole seam should be cut to about 
one-quarter of an inch width before overcasting it. 

THE FINISH OF THE WAISTLINE OF THE OUTSIDE WAIST is a matter of style. 
Follow the information given with the pattern. The waist may be made separately or 
joined to the skirt. In both cases instructions for finishing it are given with the pattern. 



CHAPTER 8 

WAISTS, BLOUSES AND SHIRT-WAISTS. PART H. 

Blouse Materials and Trimmings — Seams — Collars — Cuffs — Collarless Neck — Blouse Closing — 

Plaitings or Frills — Bottom of Blouse — 5hirl-Waist Materials — Seams — Front Closing — Blind 

Closing — Gibson Tuck — Back Yoke — Neckband — Slash in Sleeve — Cuff — Sewing In tfie 

Sleeve — Bottom of Shirt-Waist — Buttonholes — Detached Collar 

THL SEPARATE BLOUSE is made on easier fitting lines than the dress waist with 
a fitted lining. The style, use and materials demand this easier fit. When a blouse 
is made of a material that is not transparent the general principles for making it 
are the same as for finishing the dress waist. (Chapter 7, Part I.) When a blouse is 
made of a transparent material everything is done to give it the sheerest effect possible. 

MATERIALS AND TRIMMINGS. Transparent blouses are made of lace, trimmed 
with lace, or of net trimmed with lace or embroidery. They are also made of Georgette, 
chiffon, crepe de Chine or silk voile and trimmed as elaborately as one likes with em- 
broidery, beading or lace. All the newest designs for embroidery, beading and braiding 
can be had in the Butterick Transfers illustrated in Needle-Art. The methods of applying 
lace are given in Chapter 27, pages 1.34 -136. Blouses of cotton voile or batiste may be 
trimmed with embroidery, lace, hand drawn-wcrk and hand hemstitching. The latter are 
easy to do on cotton voile or batiste because the threads draw easily. Handkerchief 
linen is lovely with hand drawn-work or hand hemstitching or lace, or a combination of 
the two, as they make material look more transparent. 

Hand drawn-work and hand hemstitching can be done on crepe de Chine, Georgette and 
silk voile, but the threads are more difficult to draw. 

Embroidery, beading and drawn-work used on the body of a blouse should be done 
before the underarm seam is closed. It is easier to handle the work in this way. 

On many of the more transparent blouses machine hemstitching is the only trimming. 
(.Chapter 25, page 118.) 

SEAMS. Underarm and sleeve seams are usually French seams. (Chapter 17, 
page 86.) For shoulder and armhole seams the sheerest effect is given by machine hem- 
stitching. It can be used on any of the transparent materials unless handwork is used 
on the blouse. In that case if the sheer seam is desired it is better to use Valenciennes or 
Cluny seaming. Valenciennes seaming is the best to use on batiste. Cluny should be 
used on cotton voile, handkerchief linen, Georgette or crepe de Chine, The seaming is 
put in with narrow rolled hems. (Chapter 27, page 133.) 

A very fine cord piping is used to finish the shoulder and armhole seams of many fine 
French blouses. (Chapter 26, page 131.) The cord piping should be included in the 
seams and then trimmed off with the seams to one-quarter of an inch width. The edges 
are finely overcast. (Chapter 16, page 82.) This effect, of coiu-se, is not as sheer as the 
seaming or machine hemstitching. 

A tailored effect can be given a sheer blouse by turning the shoulder seams toward the 
shoulder, and the armhole seam toward the neck, and stitching close to the seam on the 
outside of the blouse. The seam should then be trimmed off to one-quarter of an inch 
depth and finely overcast. (Chapter 16, page 82.) 

At all limes seams should be made as inconspicuous as possible. 

COLLARS. Collars may be single or double according to the transparent effect desired. 
When a single collar is to be joined to a blouse of a material sufficiently transparent for 

42 



BLOU5L5 AND SHIRT-WAISTS 43 

the joining to show tliroiigh to the outside, or if part of the collar joining rolls to the out- 
side and shows, the daintiest effect is given by machine hemstitching the seam or by using 
Valenciennes or Cluny lace seaming in the joining. If the collar joining does not roU to the 
outside, the joining can be made with a narrow flat fell seam. (Chapter 17, page 87.) 

A single or double collar should never be joined to the neck of a transparent blouse 
with a facing, for it makes a thick seam which will show on the outside. 

The outside of a double collar should be sewed to the neck edge of the blouse. The 
edge of the inside collar or collar lining should be turned in and felled over the sewing. 

The single collar can be put on with machine hemstitching or seaming. 

It is advisable to avoid a seam in the edge of either single or double collars in a trans- 
parent material, if possible. In the case of a single collar a hem is the best finish for the 
outside edge when it is plain. 

THE COLLARLL55 NECK. Instructions for finishing the coUarless neck are given 
in Chapter 7, page 41. 

THE, CUFFS. When the design is suitable the making and finishing of the cuff may 
match the maldng and finishing of the collar. The joining of the cuff to the sleeve may 
match the finishing of the shoulder and armhole seams when the seam finish is suitable. 
The same general principles are applied to the cuff as to the collar, and are simply adapted 
to suit the design of the eufl". 

The cuffs may be closed with buttons and buttonholes, or with buttons and loops. 
(Chapter 24, page 114.) Or the buttons may be simply ornamental and the closing 
made underneath with hooks and eyes or tiny snap fasteners. (Chapter 24, page 116.) 

THE CLOSING OF THE BLOUSE depends on the degree of softness and dressiness 
that you want to give to the blouse. The closing of the waistline is always made secure 
with a hook and eye, or button and loop. (Chapter 24, page 114.) Above, snap fast- 
eners are sometimes used (Chapter 24, page 116), or sometimes a waist is fastened with 
buttons and buttonholes, or sometimes buttons and loops. But quite often when the blouse 
laps a great deal at the waistline, and is soft and full, the only closing above it is made by 
a fancy pin at the open neck. 

For the back-closing blouse snap fasteners are not very seetire. It is better to use small 
buttons and buttonholes. 

PLAITINGS OR FRILLS are usually made of a single thickness of the material and 
may be finished with a pieoted edge, a narrow hem or Valenciennes lace, net or point 
d'esprit footing. If a hem is used it should be machine hemstitched, or hand hemstitched 
(Chapter 2.5), or hand hemmed (Chapter 18) or machine stitched. 

Plaitings are very pretty in Georgette, crepe de Chine, cotton voile, handkerchief linen 
and batiste. Organdy plaitings are verj' dainty on cotton voile, and net plaitings are often 
used on handkerchief linen and crepe de Chine. 

WHEN A BLOUSE EXTENDS BELOW THE WAISTLINE and is to be worn inside 
the skirt, it is usually finished at the waistline with a casing through which an elastic or 
drawstring is run to regulate the size. (Chapter 2.3, page 111.) The lower edge is finished 
with a narrow hem. 

If the blouse is worn outside the skirt the finish of the lower part depends on the style 
and material of the blouse. 

A BLOUSE THAT COMES JUST TO THE WAISTLINE is usually finished with a belt 
casing. (Chapter 23, page 111.) 

5HIRT-WAI5T5 



S 



HIRT-WAISTS are usually given a more mannish effect in their making and finishing 
than a blouse-waist. 



MATERIALS. Tub silks and satins, radium silks, cotton, silk or wool shirtings, the heavier 
qualities of crepe de Chine, pongee, dimity, madras and linen are the best materials 
to use for shirt-waists. 



44 



THE NLW DRE55MAKLR 



THL SEAMS may be finished as FVench 
seams or as flat stitched seams, or lapped 
seams, ((^hapter 17, pages 86 and 87.) 

THL FRONT CLOSING. Shirt-waists are 
finished with a box plait or eoat closing. The 
making of the box-plait closing on the right 
front is shown in Illustration 74 and the 




III. 75. The Finished Box Plait 

finished box plait in Illustration 75. A hem 
is turned and the raw edge included in the 
fold of the hem. (III. 74.) 

THL COAT CLOSING is made by turning 
both hems on the wrong side, basting and 
stitching them. (111. 76.) 

A BLIND CLOSING. If the waist is 





III. 76. Finished E.ffect of Coat Closing 

to have a blind closing, a fly must be 
applied to the closing edge. The fly 
should be made double, folded length- 
wise through the center, and a seam 
turned in at each edge. The fold edges 
are basted together and then sewed in 
position. (111.77.) 

THL GIBSON TUCK in a waist ne- 
cessitates joining the shoulder seam first 
before basting in the tuck. This leaves 
the tuck free across the shoulder seam 
(111. 78), and in basting in the sleeves 
the tucks can simply be turned toward 
the neck out of the way as illustrated. 

A BACK YOKL. A back yoke may be 
applied to the waist as shown in 
Illustration 79. 

THL NLCKBAND. Shirt-waists are 
sometimes made with a band finishing 



BLOU5L5 AND SHIRT-WAISTS 



45 



the neck of the waist and worn with separate 
linen collars. 

The neck requires care. It should not I)e 
trimmed out too much and the neckband should 
fit the neck closely, though not too tightly, or it 





111. 79. Method of Applying Yoke 



III. 78. Basting in a Gibson Tuck 

will be difficult to adjust the collar. 
An interlining should be used in the 

J ^^ ^> < neckband. In most cases it should be 
^ of a material about the same weight as 

the waist material. The material of the 
waist can often be used for an inter- 
lining. In wash materials and flannel 
a soft cambric makes a good interlining. 
Cut two sections by the coUar-band 
pattern and also one interlining. Baste 
the interlining to the wTong side of one 
of the collar sections. Place the two 
collar sections together with the right 
sides face to face. Baste an e\en three-eightli-inch seam at the top and ends, turn the 
band right side out and crease and baste the edges flat. Baste the inside section of the 
band to the neck of the waist with the seam on the right .side. Turn the seam up, turn in 
the remaining edge of the band, fuUj- co^•ering the seam and stitch the outside, continu- 
ing this stitching all around the band. 

FINISHING THE SLASH IN THE SLEEVE. For the slash in the sleeve sew the 
underlap piece to the back edge of the slash with the seam toward the riglit side. Crease 
the seam on the lap, turn the lap; baste down, entirely covering the joining, and stitch. 
Join the overlap piece to the front edge of the slash in the same manner. (111. 80.) Adjust 
the overlap so that it will conceal the underlap and baste it in place. Stitch all around 
the overlap, following the shape of the point. At the top of the opening the stitching 
should cross the lap and catch through the underlap, securely 
holding the opening in correct position, as shown in Illustra- 
tions 80 and 82. 

A CONTINUOUS LAP is often used to finish the slash 
at the cuff opening. This lap is made by sewing a straight 
-trip of the material continuously along both edges of the 
-lashed opening, the strip of material being the same width 
all its length. (111. 81.) The other side is turned over and 
liemmed by hand or machine-stitched, to cover the first seam. 
This lap is shown in Illustration 81. When the lower edge of 
the slee\e is gathered this lap is turned under at the front or 
overlapping edge of the opening and extends on the other side 
to form an underlap. (111. 84.) 

MAKING AND FINISHING THE CUFE There are two sec- 
Ill. 80. Method of Apply- tions for each cuiJ. 

ins Laps to Sleeves An interUning may be used m a cuff or not, dependmg on the 




46 



THE NE.W DRE.55 MAKER 




111.81. Method of ApplvinS 
Continuous Lap 



dcgreo of mannish effect desired in the. waist. The 
interlining gives a cuff a more mannish loolc. It 
slioiild be of a material about the same weiglit as the 
waist material, and is used to give a littli' more body 
to the cuff, but not to stiffen it. In many eases the 
material of the waist could be used for an interlining. In 
wash materials a soft camliric makes a good interlining. 
If an interlining is used baste it to the wrong side of 
one of the euff sections. Then baste the second cuff 

section to the first with the right sides facing each other, 
si itching along the two ends and lower edge. Trim off the 




seam at the corners and 
turn the euff right sidr 
out, making sure that the 
corners are as neat as 
possible. Baste along 
the seamed edges so that 
the cuff will be easy to 
handle in sewing it to the 
sleeve. 

Baste the upper edge 
of the outside and inter- 
lining to the sleeve and 
overlaji, lint not to the 
underlaj) in a liidv cuff 
(,111. 82), and to the 
sleeve, ovei-lap and underlap in a lapped cuff. (HI. 83.) Then stitch, pushing the sleeve 
fulness well toward tlie end of the cuff. Turn the seam down and baste. Make a 
narrow turning on the inside of the cuff and baste in position, covering the seam. Stitch 
around all the edges of the cuff from the outside. For convenience in handling it is better 
to turn the sleeve wrong side out before making this stitching. 

In sewing in the slee\'es hold the sleeve toward you so 
that the ease or fulness can be handled easily in basting. 



Finist) for Lap ClosinS 




THE. r^OTTOM OF THE. 5HIRT-WALST. 
(lie waist is finished witli a narrow hem. 



Tlie bottom of 



111. 84. 



THE BUTTONHOLES. The buttonholes in the box 
plait or coal closing are worked up and down through the 
center with a bar tack at eacli end. (Page 112, 111. 228.) 
Ill the neckband they are worked lengthwise. The button- 
hole at the center back is worked one-quarter of an inch 
above the stitching and has a bar tack at each end. Those 
at the ends of the baiitl are worked a corresponding distance abo\-e the stitching, but with 
a round front end above the center of the box plaits. (Page 118, 111. 229.) The button- 
holes in the cuff are cut one-half inch in from the edge and about iu the middle of the cuff. 
They are worked with one round end and one bar tack. 



Conlinuous Lap 
and Cull 



THE DETACHED COLLAR. An interlining in a collar gives a more mannish effect. 
It may be used or not according to the degree of niannishness of the waist. 

If a detaclied collar is desired, cut two sections and an interlining by the collar pattern. 
Stitch togetlitir on the outside edges. Turn, and baste the bottom of the collar and its 
band with the seam toward the wrong side, and then stitch. Hem the outer edge over to 
the line of stitching. Stitch around the outside of the collar and work buttonholes cor- 
responding to those on the neckband of the shirt-waist. 



CHAPTF.R 9 

SKIRTS FOR LADIE.S AND MISSES 

Skirt Patterns — Pattern Altercitions — Cutting -Foundation or Drop Skirt — Inside Belt — Putting 

the Skirt Together —Alterations — Hanging a Gored Skirt —Hanging a Circular Skirt — 

Altering the Length of a Gored Skirt — Placket — Finish of Seams^Seam 

Allowance at Top of Skirt — Finish of Skirt 



T 



HE SKIRT PATTERN slioulil he houRlit by Mic hip measure. (Chapter 2, page 
11, iiistniclions on Kettius the rit;lit-size i)att('riis.) 



PATTERN ALTERATIONS. Before eutting your material compare the waist inea-. 
sure given on the pattern (envelope with your own waist measure, and if it is too large or 
too small it can be altered aceordiug to instructions given in Chapter 2, page 1 1. 

Company the front length of the patt(U'n below the regulation waistline with the length 
you want to make your liiiisheil skirt. You will liiul the front length of the pattern 
given on the pattern envelope. The regulation waistline is marked on the pattern. If 
the pattern is too long or too short for you, alter the length as e.xplained in C^hai)ter '.i, 
pages 22 and 23. Wlu^n you diM'ide on the length of your skirt, you must al.so de(Mde 
whether you will finish it with a hem or facing. Advice on the use of hems aiul fa<'ings 
is given in Chapters IS arul 19. If you are a woman of average height, you will have to 
make an allowance for tile hem in cutting. Ladies' patterns do not allow for hems ex- 
cept in sjiecial instances. If you are sliorter than the average, the skirt ])att('rn may be 
sufficii^nlly long to allow for the hem. Misses' patterns give a tlu'ee-inch-hem allowance. 
In the case of a tall girl, or of a small woman who is using a uiis.ses' jjattcrn, it may he neces- 
sary to make an atldilional hem allowance if a hem is used. 

If your figure is irregular in any way, if you have promiiU'ut hips or a promitUMit ab- 
domen, etc., the skirt pattern should \w altered as explained in Chapter 5, pages 2.S-;50. 

CUTTING. Before cutting your nuiterial read Chapter (ion Materials, Sponging, 
Steaming, Cutting, etc. 

Lay the pattern on the material aceording to the Deltor layouts included in the pat- 
tern. If the pattern does not contain a Deltor, follow the cutting instructions given 
with the pattern. If you are not familiar with perforations and their uses, read Chapter 
2, pages 1.0 to IS. 

Cutout the skirt following the advice given in Chapter (i. Mark all tli<' perforations 
with tailors' tacks. (Chapter 16, page So.) 

The notches can either be clipped or marked with two or three stit(^hes in basting- 
cotton. If you clip them, cut them .so that you can see them distinctly, but do not make 
thimi any di>ei)er than necessary. 

For your wash skirt the inside belt should be shrunken before it is used. 

FOUNDATION OR DROP SKIRT. China silk is the best and most satisfactory 
material for the foundation or drop skirt. However, forwearing qualities many women 
prefer some of the lining materials which are mixtures of silk and cotton, or the better 
grades of p(ircaline. 

For tlie trans])aront materials such as lace, net, chilTon, Gecjrgette or silk voile, Brus- 
sels net is the bi'st material for the foundation or tlie drop skirt. 

If the pattern has a foundation skirt it should be made before the skirt itself. The 
Deltor or Illustrated Instructions will show you, with |)ictures liow to make the drop skirt. 
Then make the outside skirt, tunic or drapery, following the Deltor or Illustrated 
Instructions. 

47 



48 



THE NLW DRE.55MAKE.R 



THE BELT. Make the belt foUo^ving the pictures gi^■en in the Del tor or Illustrated 
Instructions. 

Fasten your belt with good-sized hooks and eyes. Number eight is the best size to 
use for this purpose. For a belt of average width sew three hooks on the right end of 
the belt, placing them about one quarter of an inch in from the edge. Sew them through 
the rings and over the bill. 

Sew three eyes on the left end of the belt, letting them extend far enough over the edge 
of the belt so as to fasten easily when the belt is hooked. Sew them through the rings 
and at the end of the belt. E.Kcept for a very narrow belt always use three hooks and 
eyes; vrith only two hooks and eyes a belt of ordinary width will bulge at the center. 

PLAITS, 5H1RRING5, DRAPERIES, ETC. Lay in all the plaits, shirrings, draperies, 
etc., in the outside skirt, following the Dehor or Illustrated Insti-uctions included in every 
Butterick pattern. Baste the seams. (Chapter 2, page 17.) 

ALTERATIONS. Try the skirt on. If the above instructions have been followed at 
every point and each step of the work has been done carefully, the skirt should fit per- 
fectly with possibly some minor adjustment of the length. 

If through some small miscalculation the waist is too large, it can be taken in at the 
seam or darts if it is plain at the top. If the skirt is gathered, the gathers can be drawn 
a little closer. If it is plaited, the plaits can be made a trifle deeper. 

If the waist is too small, the seams or darts can be let out if the skirt is plain at the top 
and allows for this alteration. If no allowance is made for this alteration, the skirt could 

be raised a trifle higher on the belt all the 
way around. If the skirt is gathered at the 
top, the fulness can be let out the necessary 
amount. If it is plaited, each plait can be 
let out a trifle. 

In altering seams or darts the alteration 
should run gi'adually to the hip, unless the 
skirt is large or small at that point, in which 
case the alteration should run all the way 
to the bottom of the skirt. Be careful not 
to fit the skirt too tightly over the hips or 
the skirt will draw up and wTinkle when one 
sits down and will get out of shape. If 
the skirt sets properly, the center hne at the 
front should be perpendicular. 

HANGING A GORED SKIRT. To make 
sure a gored skirt is an even length all the 
way around, cut a strip of cardboard two 
inches wide and ten or twelve inches long. 
Make a notch at one long edge at the dis- 
tance at which you want the skirt to clear 
the floor. Put your skirt on and stand on 
a table. (111. 85.) Have some one mark 
the correct length vnth the marker and pins. 
(111. S.5.) Take the sku-t oil', turn it up at 
the pin-line and baste it. 

Try the skirt on again, to be sure that 
the lower edge is perfectly even before hemming or facing it. 

There are two ways of hanging a skirt if you ha-\'e no one to help you. Take a straight, 
flat stick or a yard-stick long enough to reach from the floor to a line on the skirt which 
you can reach easily \\dthout bending. Just below the fullest part of the hips is the best 
point. Stand the stick upright on the floor, with one end touching your figure, and place 
a pin where the top of the stick touches the skirt. Move the stick around the figure a 
few inches at a time, marking it at each point. Take off the skirt and measure from the 
pins down to the con-ect length. Mark the correct length with pins. Turn it up, baste 
it and try it on. 




Ill 85. 



To Get an Lven Line at the 
Bottom of a 5kirt 



LADILS' AND M155E.5' SKIRTS 



49 




III. 86. Hanging a Circular Skirl 
to Prevent Sagging 



Instead of using a stick you pou1<1 iiinko use of a 
dros.sing-tabln or any picco of fiirniturt- with a flat edge 
of a height that eomes tlie fight point just below tlie hip. 
Stand against the edge of the tabh' and mark the skirt 
where the table touehes it, turning slowly till you have 
marked all around the skirt. Then measure down the 
correct length as described above. 

HANGING A CIRCULAR SKIRT. A eircular skirt 
being cut on the bias will always stretch more or less. 
You should make it stretch as much as possible before 
hanging it, so that after the botloui is finished it will 
stretch as little as possible. 

A skirt stretches because its own weight and the 
weight of the hem or lacing draw it down. If you hang 
it up for two or three days properly wi'ightfil at the 
bottom, it will stretch as much as it can stretch and 
you can then hang it safely. Every woman who sews 
accumulates a lot of useless nuit<Tial which can be used 
to weight the lower part of the skirt. Fold the mate- 
rial in strips three or four inches wide and use sufficient 
strips to make foiu- or fi\-e thicknesses. Pin the strips 
to the lower part of the skirt. (111. 80.) Pin the two 
halves of the skirt together at the top. and pin to the 
skirt loops of materials by which you can hang it up. 
(111. 8G.) Slip the looi)s on hooks just far enough apart 

to hold out the belt evenly (111. 8(5) and let the skirt hang two or three days until the weight 
of the strips has stretched it thoroughly. Then you can turn up the lower edge of the 
skirt, following the directions given for hanging a gored skirt. 

ALTLRING THE. LLNGTH OF A STRAIGHT SKIRT. If the length is to be altered 
the same amount all the way around and the skirt is plain, the alteration can be 
made at the low-er edge. If it hangs une\enly and must be altered more at some i)laces 
than others, or the pattern has many markings for tucks, trimmings, etc., alteration must 
be made at the top so as not to lose the straight grain of the lower part of the skirt, and. 
if tucked, marked, for trimming, etc., so as not to alter the lines of the tucks or marks. 
If a skirt has tucks, fiiul out the amount to b(> taken tip by the finished tucks atul add 
that amount to the actual length of the skirt. Then stand on a footstool or pile of books 
tall enough to allow the entire skirt length, including the allowance for tucks, to hang 
straight. The sldrt can then be hung, following the directions just given on the preced- 
ing page. 

STITCH THL SF-AMS. 

PLACKF.T. Make a placket following the directions in the Deltor or Illustrated 

Iiislructiiins and in Chapter 'Jl, pages tOt) — 102. 

THL FINISH OF THL SLAMS depends on the weight and texture of the material. 
The skirts of thin cotton raat<>rials and (icorgettes may be finished with French seams 
(Chapter 17, page 86), or machine-hemstitched seams (Chapter 25, page 118), or the seams 
may be rolled and overcast (Chapter 17, page 87), or be cut close and overcast together. 
(Chapter 10, page 82.) 

The seams in net, chiffon, etc., should be made as invisible as possible. They may be 
machine-hemstitched, rolled and overcast, or cut close and overcast together. 

In wool, silk or satiii materials seams can be pressed open (Chapter 32, page 154), or 
turned to one side and bound with ribbon seam-binding. 

The seaius can bo pressed open and the edges turned under, stitched close to the 
turning, but not through the skirt. This is a quick finish and very neat. Or the edges 
may be finely overcast. 

Wool materials and silks which do not fray, such as broadcloth, taffeta, ere[)e de Chine, 
may be pinked. (Chapter 17, page 87.) Any of the French seams may be used for silk or 



50 THE-NEWDRLSSMAKE-R 

satin. (Chapter 17, page 86.) The thinner silk.s may have machine hemstitched seams. 
((^lapter 25, page 1 18.) 

For velvet it is best to hind the seams. (Chapter 17, iiago SS.) 

For heavy cotton materials and gingham the seam.s may Ijc pressed open or turned 
to one side and bound with lawn seam-binding. Gingham may also be finished with any 
of the French seams. 

THL SLAM ALLOVMNCL AT THE TOP OF THE SKIRT should be turned down on the 
inside of the belt and its edge co\'ered with seam-binding. Pri<ss the seams. (Chapter 
32, page 154.) 

riNlSH THE BOTTOM OF THE TUNIC OR DRAPERY according to the instructions 
given in the Del tor. 

FINISH THE BOTTOM OF THE SKIRT WITH A HEM OR FACING. (Chapters 18 and 19.) 

SEW ON THE HANGERS. 



CHAPTLR 10 

DRL5SL5 FOR LAD1L5, MI55L5, GIRLS AND CHILDREN 

Dress Pattern— Material— Making a Dress— Joining a Waist and Skirt to Make a One-Piece 

Dress — An Uniined Dress — Sailor and Naval Suits — First Short Dresses — Dresses 

Made With Closing Under a Plait— Dresses Made With Yokes 

THE DRE^S PATTLRN. Always buy the dress pattern for ladies aeeording to the 
measures given on the pattern envelope. Directions for taking bust, waist and hip 
measures are given in Chapter 2, pages 10 and 11. Sometimes only the bust measure is 
given on the pattern, which means tliat that is the only measure necessary to consider in 
buj^ng the pattern, and that the style is such that there is sutificiont ease or fulness to 
permit of any reasonable alteration at the waist and hip. If, however, the bust, waist 
and liip measures are given on the envelope, all three must be considered in buying the 
pattern. Be careful not to buy one that is too small at any of those places. 

For an e.xtreme figure it is -best to buy waist and skirt patterns separately instead of 
buj-ing a complete dress pattern. Buy the waist by the bust measm-e and the skirt by 
the hip measure. (See Chapter 2.) In tliis way it is possible to get a pattern to meet 
the measures of the figure. 

Dress patterns for misses should be bought by the age unless the girl is large or small 
for her age, in wliich case the pattern should be bought by the bust measure. 

MATLRIALS. For directions on the use of material, sponging and cutting read Chapter 6. 

MAKING A DRESS. For either a one-piece dress or for a dress with a waist and 
skirt joined together, the same general rules apply to the making and finishing that are 
given in Chapters 7 and 8 on Waists, and Cliapter 9 on Skirts. 

The instructions in these chapters cover the making and finishing of every part of the 
dress except where a waist, blouse or shirt-waist is joined to the skirt at the waistUne. 

JOINING A WAIST AND SKIRT TO MAKL A ONE-PILCL DRE.S5. When a waist 
and sldrt are to be put together, they are made separately and completely finished 
before they are joined. The inside belt of the waist, if there is one, however, should 
only be basted to the waist, and the inside belt of the skirt should be basted to the skirt but 
not sewed fast. When the waist and skirt are finished, put them on with the skirt over 
the waist and pin them together. Take them off and baste them together at the waist- 
Une. Try them on again to be sure that the waistline is in just the right place. If there 
was a belt-stay in the waist, take it out and fell the skirt belt to the waist or blouse. 

AN UNLINED DRLSS should be worn over a slip. 

DRE55ES FOR GIRL5 AND CHILDREN 

THE PATTERN. Instructions for buying a iiattern for girls and children are given 
in Chapter 2, page 12. The same general rules for making and finisliing that are given 
in the chapters on waists and skirts for ladies (Chapters 7, 8 and 9) apply to making 
children's garments, though of course girls' and children's dresses represent a very simple 
type, and the work is kept as simple as possible. 

SAILOR AND NAVAL SUITS. The making of these dresses is handled in Chapter 
II, page 5.?. 

51 



52 



THL NEW DRL55MAKE.R 



FIRST SHORI DRL55E^. The general rules for making infants' clothes (see Chapter 
15, pages 73 and 80) apply to the first short dresses. They are very simple in construction. 

DRL55E.5 MADE WITH A CLOS- 
ING UNDER A PLAIT. Thi.s dosing 
is often used in a plaited dress. The 
closing, cut under a plait and finished 
with laps for buttons and button- 
holes, is shown in llkistration 87. 
The slash for the opening is made 
under the plait a seam's width from 
the sowing. The laps are made 
double, and when attached should 
bo a little narrower than the plait 
which covers them. By referring to 
tlu^ illustration, the method of join- 
ing the laps to the edges of the 
opening will lie readily understood. 

DRESSES MADE WITH YOKES. 
A yoke can be joined to a dress as 
shown in Illustration 88. 

Cut the yoke and turn the 
edge under a seam's width, clip- 
ping the edge where necessary to 
make it lie flat. Baste the yoke over 
the top of the front of the dress. To 
the wrong side, baste a bias strip of 
material witli its edges turned under, 
l-'laco two rows of stitt^hing across 
the yoke, stit,ching from the outside. 
They will catch through the bias fac- 
ing that is basted underneath, and 
which covers the seam, making a n(>at 
finish on tlie inside. This fimsli is do- 




llt 87. The Closing Under a Plait 



sirable for a dress made of any material 
which is not transparent, as it makes it 
unnecessary to line the yoke. If a lining 
is used, however, it is cut like the yoke 
pattern, and the top of the dress por- 
tion is enclosed between the turned-un- 
der edges of the yoke and its lining. 

SMOCKING is a trimming much 
used on the better class of children's 
clothes here and abroad. It is used for 
dresses, rompers, coals and little boys' 
suits. It is very pretty in colors on 
(!r(>sses of fine white batiste, nainsook, 
plain lawn, handkercOiief linen, cotton 
\i)ile, very fine cotton crepe and silk 
mull. It is also used on the heavier 
cotton materials in whiter or plain colors, 
on chambray, serge, broadcloth, crepe 

de Chine, etc. It is very easy to do with the Butterick transfers, which not only give the 

design of I he smocking but instructions for working it. 




• ■i'laf* 



. 88. Attaciling 'lokc lo tront 




CHAPTER 11 

SAILOR OR NAVAL 5UIT5 

Materials — Blouse — Collar— Emblems and Chevrons— Neckerchief or Tie — Skirt 

ALMOST invariably the small boy and girl, if given any voice in the choosing of 
jtK their clothes, \\all select the suit that looks most like a uniform. 

Women and young girls like middy costumes because they are attractive, useful 
and extremely comfortable for work or sports. This type of dress makes e.\eellent 
school and play dresses. 

Dark navy-blue flannel and bleached cotton 
drill are the materials used for these blouses 
or overshirts, as they are called. According 
to the regulations governing the uniforms of 
officers and enlisted men of the navy, the 
dark-blue flannel blouses are trimmed with 
white linen tape, while the cotton drill blouses 
are made with sailor collar and cuffs of dark- 
blue flannel, which are al.so trimmed with the 
tape. 

In adapting this style for misses' and girls' 
wear, it is not necessary to be governed ab- 
solutely by the ironclad rules regarding color 111.89. Tumina tdge of Yoke 
and material which are observed in the navy. 

Besides the regulation navy-blue and white, brown, gi-ay and red and the unbleached 
"khaki" shades are considered quite correct for sailor dresses. Serge and cheviot are 
appropriate woolen materials, while linen, duck, pique, chanibray, galatea, etc., arc a few 
of the suitable wash fabrics. 

TO MAKE THE BLOUSE, baste the seams with notches matching, and try the blouse 
on, either by slipping o\'er the head or lapping the fronts, as directed in the pattern in- 
structions. If a yoke-facing is used, the underaim seams are left open to facilitate the 
work. The shoulder seams of the blouse are joined with the seams toward the outside; 
those of the yoke-facing toward the wi-ong side. Stitch and press the seams open. 

The lower edge of the yoke is turned under a seam's width. If the yoke has a curved 
lower outline, the turned-under portion at the fullest part of the curves must be slightly 
eased, while at the sharp points it must be slashed as shown in 111. 89. Lay the blouse 
flat on the table, spread out its entire length. Place the yoke on the blouse so that the 
shoulder seams come exactly together and the yoke lies smoothly on the blouse. Pin the 
yoke to hold it in place, then baste and stitch it to the blouse. 

Plaits are made in the regulation sleeve by creasing from the perforations at the bottom 
to the corresponding perforations at cuff depth. These creases are brought over to the 
position marked by perforations and the plaits are stitched along the fold edge before the 
seam is closed. 

Illustration 90 shows how the blouse may be laid out on the table for conve- 
nience in Joining the sleeve. Baste the sleeve to the yoke with the usual three-eightlis-of- 
an-inch seam and then stitch it. Turn under the armhole of the blouse three-eighths of 
an inch, baste it over the seam, and fell it down. Make a second stitching on the body of 
the blouse one-quarter of an inch from the seam. The underarm and sleeve seams have 
been left open until now, making the work easier to handle and also making it possible 

53 



54 



THL NLW DRESSMAKER 



,.^.«-iS*^'SS 




III. 90. Setting in the Sleeve 



to sew the rating badge on the sleeve properly. Close the underarm seams and the 
sleeve seams as notched, using flat felled seams. (Chapter 17, page S?.) 

A hem is turned at the bottom of the blouse and if the pattern instruetions direct, 

an elastic is inserted to hold tlie 
blouse in place. 

THE. COLLAR is joined to the 
neck witli the seam toward the inside. 
(111. 91.) The collar is marked 
with notclies showing where it 
joins the blouse, and in basting 
it on, the edge should l>e stretdied 
between the notches to tit the cor- 
responding edge of the bK>use, thus 
causing tlie collar to roll closely 
about tlie neck. The outer edges are 
turned under thret>H>iglitlis of an 
incli and basted down. At the end 
of the slash in front, the turned- 
inidcr portion tajicrs away to a point. 
The outer facing is ]>laccd on the 
collar so carefully that the roll of the 
facing and collar will come exactly 
together and the ends are slipped 
under tlie fronts. (.HI- 9-"> " l^nste 
along the roll. The neck edge of the 
facing is stretched siirticieiitly to 
make it lie smoothly when the collar 
is rolled back. After pinning the 
collar facing around the neck and 
down the front, roll the collar and 
facing ONer and roll the fronts back. 
I*ut your hand under tlie collar and 
111.91. Ba^Ung on Collar siuooth it outward, so that it does 




SAILOR OR NAVAL SUITS 



55 



not wrinkle on tlio i-ollar facing. 

Tui-n till' oiisc of till' collar fai-ing 
unilor. i>ven willi the collar. Basto 
the collar and the facias together 
across the bottom and sides up to 
the seam joining the collar and 
blouse. From that point down, take 
out the pins that hold tlie collar 
facing to the blouse. 

The collar facing is trimmed with 
three rows of linen tape, set its own 
width apart and stitched on botli 
edges. If .\ou sew the tape on the 
collar facing after the latter is on the 
blouse, the stitching will show' on the 
front of your yoke. Across the back 
of the collar it makes no difference, 
for the facing is on top, and the 
stitching underneath. Baste the 
linen tape carefully to the collar fac- 
ing and stitch it on both edges. 

.\fter it has been stitched, the 
collar facing can be basted in place 
under the front. A row of stitching 
as close to the edge as possible should 
run around the entire outer edge. 
The inner edg(> of the collar facing 
must be turned under three-eighths 
of an inch. \\"here\(r it is necessary, 
it must be clipped, or eased, hke the 

edge of the yoke. After the edge is turned under, it is basted to the blouse. Across the 
the neck it is felled to the blouse, covering the seam, but down the fronts it is stitch 
two rows of machine stitching, which nuikes a pretty decoration on the front of the 




111. 92. AdiLl^lill!i the Collar Facing 



back of 
ed with 

blouse. 



THE SHIE.LD is cut in one piece and may be simi)ly heninied. or, if preferred, lined 
throughout with lawn or cambric. It i.>< trimmed with an emblem or star. 

After both blouse and shield are Hnished, it is practii'al to make a few buttonholes along 
the neckline of the body part, under the collar, sewing buttons in corresponding positions 
on the shield to prevent it from shifting around out of place. A crow's-foot may be made 
at the lower end of the neck opening in front (("hapler "25, i)ase ViS) and mak(>s a neat, 
strong liuish. 



LMBLEMS AND CHEVRONS in the various groups, or sets of anchors, bars, eagles 
and stars, tinislu>d and ready to sew on can be bought, but they are ne\'er as satisfactory 
as the designs that can be stamped on the dress itself. Sometimes the figures are worked 
in the center of a piece of In-oadcloth or linen, which is cut scpiare or oblong, or in shield 
shape, and attached to the sleeve with a row of calch-slitching. 

The che\rons or stripes are not padded but should be nuide of strips of scarlet three- 
eighths of an inch wide, separated one-fourth inch and sow-ed on flat with an overlock 
stitch of scarlet silk on the edges. 

In w^irking the specialty marks and eagles, an easier plan than the one of cutting the 
figures out of ])asteboard and working o\er them, is to baste a piece of oan\as or crinoline 
on the wrong side of the material, and work right through it, cutting the edges of the can- 
vas away after the figure has been completed. 

Light-weight twisted embri)idcr>- silk, mercerized cotton, or a linen thread may be used 
to ad\antage. for in this work smoothness is the most desirable feature, and the threads 
should all be placed in such a way as to lie next to one another, but not overlap. 

On suits of galatea, chambray, linen or any of the other cotton materials used for chil- 
dren's clothes, the work may be done with cotton, either plain or inercei-ized. This 
thread is more suitable than silk for suits which need frequent washing. The sleeve emblem 



56 



THE NEW DRESSMAKER 




III. 93. Lmblems and Chevrons 



may be repeated ou the front of the blouse or shield, or a simpler design — a star or 
anchor, for instance — may be used if preferred. 

The navy regulations state what material shall be used for the rating badge. Its 

decoration usually consists of a spread eagle abo\-e a specialty mark, and a class chevron. 

For blue clothing, the eagle and specialty marks can be embroidered in white, and for 

"white clothing they can be worked in blue silk. The position of the rating badge worn 

by petty officers is governed by 
naval uniform regulations. 

The chevTous show the class of 
the officer, while the specialty 
marks indicate his position in the 
service. 

In using these emblems on a 
blouse, one might select the spe- 
cialty marks worn by the father 
or brother who is enUsted, or even 
an insignia indicating the trade or 
professional calling followed by a 
member of the family, such as 
engineer, electrician, etc. 

The emblem may be placed on 
the shield also, and a five-pointed 
star should be embroidered on 
both corners of the collar. E.xcel- 
lent Butteriek transfer patterns 
111. 94. Boatswain's Mate ''an be purchased for the emblems, ,„ 95 ,^^^,1^^ g^^^^ f^^ 

first-Class Stars, etc., used on sailor suits. chief Master-at Arms 





SAILOR OR NAVAL SUITS 



57 




THE NECKLRCHIELF OR TIE. worn with the lilouso is 
a square of blaek silk tied in a square knot, leaving 
ends from four to six inches long. It is folded diago- 
nally and then rolled up, with the two oxerlapping 
corners folded into the material and held together 
hy an elastic, as shown in Illustration 96, while 
the o t h e r 
corners 
are tie d 
at the lower 
end of the 
collar in a 
square knot 
with a cor- 
ner extend- 
i n g from 
each side. 
(111. 97.) 




Detail of TyinS Knot 



THE SKIRT. 



III. 96. The Neckerchief 1 ied 



If front openings in the skirt are de- 
sired, both edges of the front gore are undorfaeed to the 
depth of a placket opening, with a straight strip of ma- 
terial about one and one-half inches wide. Tlie front 
edge of each side gore should have an underlap to the 
same depth, about one inch and a half wide when (inished. 
Join the gores together with stitched felled seams, continuing the stitching along the 
opening. If the skirt is to be i)laited, the plaits will give suflicient material for the under- 
lap. (Chapter 21, page 102.) 

For a back lacing, the back plait is stitched separately from the skirt and the fold 
edges worked with six or eight eyek'ts (Chapter 24, 
page 115) and laced with black silk lacing or silk 
tape. (111. 99.) 

The upper edge of the front gore is finished with 





III 98. Front Plackel of Skirl 

a straight belt two inches wide. A continuous belt 

of the same width is attached to the side and liack 

gores of the skirt. The belts are cut single and 

lined, with an inti^rlining added if it is necessary. 

Three buttonholes are made at each side of the front gore, two on the skirt part and one 

on the belt. (111. 9,S.) 

The sailor blouse may be used with a boy's suit. Instructions for making trousers will 
be found in Chapter 30. 



KeSulation Naval Lacini^ 



CHAPTER 12 

COATS AND CAPL5 FOR LADIL5 AND MI55L5. 
GIRLS AND CHILDRLN 

Patterns — Materials — Cutting — Interlining — Putting the Coat Together — The Strictly Tailored 
Collar — Tape — Weights — Additional Interlining for Warmth — Collar and Front Facings — Coat 
Collar Which Is Not Tailored- l^ressing — Cuffs — Sleeves — Lining — The Half-lined Coat — Un- 
lined Coat — Interlining for Fur Cloth and Tender Furs— Coats for Girls and Children — Capes 

FOK the aiuati'ur. tailoriiiir has lost all its terrors. For quo tiling:, niodom tailoring is 
nuich soflor in olToct than in former years. The use of canvas has hwMi reilueed to 
a iiiiiiiniuni, anil hairoloth has disappeared. FuiMhermore the present figure with its 
straight lines is much easier to fit than the old-time hour-glass figure with the pro- 
nounced cur\es at hust, waist and hip. 

.\nd mori' important still, womeit are now given help with their tJiiloring that was never 
available before. The Dehor shows them exactly how to cut. and cutting is more vital 
to good tailoring than to almost any other type of costume. The Dehor and Illustrated 
Instructions also tell them exactly how to cut their interlining and where to place what- 
ever canvas, etc.. the coat requires, how to- put the coat together, and just where to stitch 
it. The finish of a tailored garment has to be extriMiiely neat and the subject is handled 
fuU.v in the Dehor for finishing. 

In fact the Dehor shows a woman the way to make a tailored garment just as a first- 
class tailor would make it. and as it does it with pictures it is jicrfectly easy for her to follow 
and understand. Tailored garments are very expensive to buy and the fact that they are 
put within the reach of the home dressmaker by the Dehor marks a great advance in 
home sewing. 

THE. COAT PATTERN. Buy the pattern by the meajsures given on the pattern 
envelope. It is onl\' uecessar.v to consider the measures gi\en on the jiattern. Be sure 
that you know exactl.v what your measures are. Instructions for measuring the figure 
are gi\en in (^hapter "J, pages ID— 12. 

Before cutting your material you must be sure that the pattern is the right length for 
you in the waist aiul sleeve. Directions for measuring the waist and arm are given on 
pages It). 20 and '21, Chapter!^, on .\ltering the Length of Patterns. If you are long or short 
waisted, alter the pattern according to the instructions given on these pages. Directions 
for altering the length of dilYerent t.vpes of slee\e patterns are given in this same chapter 
on pages 20 and 21. If your arm is long or short, alter the pattern according to the 
instructions gi\en on these pa^es. 

If you are making a long coat, it is also necessary to comyiare the length of the coat 
below the waistline with the length you want your coat when finished. If it is necessary 
to alter the length of the pattern, do so according to the instructions given on the pattern 
envelope. 

If the figure is unusual in any way, the pattern should be altered following the [in- 
structions given in Chapter 4, "Altering: Waist Pattern for Figures that \'ary from the 
Average." A trial coat should be made in muslin and altered, following the principles 
given in Chapter 4. 

M.ATE-RIAL^. With the exception of silk or veh-et, coat materials should be tlior- 
oughly shrunk or steamed before they are cut. (Chapter 6, ^Materials, Sponging, 
Steaming, Cutting, Etc.) 

58 



COATS AND CAPES 



59 



CUTTING. When the material is ready, lay the pattern on it following the Deltor 
Layout for your size and width of material. If there is a nap, he sure to place the pieces 
so that the nap will run the same way in all the pieees. Other\\nse if the nap runs up 
in some places and down in others, part of the coat will look darker than others and it 
will look almost as if it were another color. The Deltor gives layouts for both materials 
with a nap and without it when both are suitable for the design. For directions for cut- 
ting materials with a nap or pile and for cutting stripes and plaids read (^ha])ter 6, 
"Materials, Sponging. Steaming, Cutting, etc.," pages 32—36. Follow the Deltor layout 
carefully in placing the pieces on your material, for if they are cut on the wrong grain of the 
material the garment will draw and stretch. Pin the pattern on the material very care- 
fully, and with sufficient pins to hold it firmly, and cut it out with sharp dressmaking 
shears following the outline exactly. (Chapter 2, page 1(5.) 

Mark all the perforations, except the ones that mark the grain lino, \vith tailors' tacks. 
(Chapter 16. page So.) The notches can either be marked wnth two or three stitches 
in basting cotton or they can be clipped. In many materials basting cotton makes a 
clearer mark and does not nick the edge of the material. 

THE. INTERLINING. The coat always requires more or less interlining. The kind 
of interlining material and the amount used varies with the type of the coat and with the 
current styles. The Deltor or Illustrated Instructions will teU you the right kind of in- 
terUning to use, how much to use and where to place it for each indi\'idual pattern. This 
interlining is not used for warmth, but to give the material sufficient body so that it will 
not break when the coat is on the figure, and make the material look poor and flimsy. 

The interlining materials most generally used are soft pliable canvas, cotton serge or 
cambric for wool materials. In a linen coat use butchers' linen, cambric or muslin. For 
a silk coat the interhning should be cotton serge, sateen or cambric. All inlcrlinings 
should be shrunken before they are used. 



^^^^^0m 



^^0m 



t-is*^-'^:f^-*r?>\ 



III. 1 00. Stitching on the Stand of the Collar 



(Chapter 6. page 32.) If the interlining 
is not slu-unken beforehand it wnll shrink 
on the first damp day and will draw in and 
■\\Tinkle the coat. 

The interlining should be cut by the coat 
pattern following the instructions given in 
the Deltor or lUnstrated Instructions. 

Baste the interlining to the wrong side of the coat following the Deltor or Illustrated 
Instructions. Careful basting and plenty of it are essential to successful coat-making. 
The importance of basting can not be o\-erestimated in this work. It is one of the vital 
points in tailoring. 

PUTTING THE. COAT TOGETHER. Raste the seams 
of the coat with the notches matching. 

The Deltor or Illustrated Instructions will show you 
exactly how to put the coat together. 

Try the coat on and if any alterations are necessary 
make them before stitching the seams. 

Stitch all the seams of the coat. If they are to be 
finished with stitched or lapped seams (Chapter 17. 
pages 88 — 90), press them before they are finished. 
(Chapter 32, page 154.) 

Lap the edges of the interhning flatly over each 
other. They should be catch-stitched. 
III. 101. Padding Stitches 

FOR THE STRICTLY TAILORED COLLAR cut an 
interhning of tailors' canvas. Use the coUar pattern as a guide, but cut the canvas 
three-eighths of an inch smaller at all edges than the pattern. The canvas should be 
shrunken before it is used (Chapter 6 page 32). The "stand" of the collar — the part next 
the neck that stands up when the coat is worn — is marked by perforations. It is a 
crescent-shaped section which should be covered with parallel rows of machine stitching 
about a quarter of an inch apart. (111. 100.) 




PADDING STITCHES. The canvas and cloth on the turnover part of the collar, and 



60 



THE NLW DRESSMAKER 



in the lapel or revers on the front, must be held firmly by 
many small stitches called "padding stitches." (111. 101.) 
These stitches are about half an inch long on the canvas side 
and just barely caught through on the right side. Hold the 
collar or lapel firmly over the hand, the canvas side upper- 
most, and, in stitching, roll and shape the section in the 
direction in which it is to lie. (111. 101.) The stitch 
should be started at the line of the fold of the lapel oi- 
collar and worked in successive rows to the edge. The 
edges should be turned under, caught to the canvas and 
pressed. 

On a coat which is sometimes worn rolled high there 
should be no padding stitches in the revers, as they would 
show when the coat is worn \\-ith the collar turned up. 

Baste the collar, canvas side up, flat on the coat, accord- 
ing to the notches in the collar and in the neck. (111. 102.) 
Stretch the neck edge of the collar between the notches 
so that it will set smoothly on the coat. The upper or 
turnover part of the collar must lie flat, joining the turned- 
over lapels at the top of the fronts, to form the notched 
collar. 

When the coat has advanced thus far, try it on. Fold 
over the lapel corners at the top of the fronts and see that 
the collar is the correct size and fits properly. If it does 
not, it may be shaped by shrinking, stretching and pressing. 
The front edges of the coat should lie close to the figure at the bust, 
and a well-fltted coat should hold itself in shape to the figure at 
this point, even when unbuttoned. If the coat is inclined to flare 
away at the front line, pin one or two small dart-like tucks about 
one-quarter of an inch wide at the coat's edge and running out to 
nothing about two inches inside the edge, to shape in the edge and 
take out the stretched appearance. Mark these tucks with chalk, 
remove the pins and slash in the canvas at each chalk mark. Lap 
the canvas the same space that the tucks were made, cut away one 
edge to meet the other, lay a piece of cambric over the slash and 
sew the cambric to hold it to shape. The cloth will still have the 
fulness that has been taken out of the canvas and must be gath- 
ered on a thread, dampened and shrunk out with the iron. 

Cut away the interlining to wthin Js iii<?'i of the front edges of 
the coat. Cut the hem allowance from the bottom of the inter- 
lining, turn the edges of the coat over on the interlining and catch- 
stitch them. 




111. I 02. Tape and Weights 




TAPING THE EDGE5. Narrow linen tape, well shrunken, 
should be sewed to the canvas toward the inside of the coat at the 
crease of the lapel, drawing it taut to prevent stretching. (lU. 
102.) 

The edges of the lapel and the front coat edges should also be 
taped (111. 102), drawing the tape snug at these edges to give 
them a good shape. 

Press the fronts carefully. (Chapter 32.) 

WEIGHTS. Flat lead weights about the size of a quarter are 
tacked in the bottom of the coat to weight it properly. Cover 
them with the lining satin so thev will not wear through the 
lining. (111. 102.) 

AN ADDITIONAL INTERLINING, if required for warmth, is 
made of outing flannel or the regular silk-and-wool interlining ms. 1 03 and 1 04. The 
that comes for the purpose. (Ills. 103 and 104.) Cut it with the interlining for Warmth 




COATS AND CAPLS 



61 




pattern of the coat as a guide, letting it extend an inch or two below the waistline. (Ills. 
103 and 104.) Slash the interlining at intervals along the bottom so that it vnW not bind 
the coat. Do not put the interlining together with ordinary seams, but tack it inside 
the coat, letting one seam edge of the interlining overlap the one next to it. 

CUT FACINGS for the collar and fronts from the coat 
pattern following the instructions in the Deltor or Illustrated 
Instructions. The front facings must be cut to the shape of 
the front after the edges have been altered and taped. Lay 
the cloth on the fronts and over the lapel corners; pin it care- 
fully in place, holding the front and lapel in to their proper 
shape; then cut it to the required \\'idth. It need extend only 
about three inches inside of the line that marks the center of 
the front. The collar facing, if of cloth, must be cut on the 
width or crosswise of the material and must not have a seam 
in the center of the back. 

Fit the collar facing to the canvas collar and join it to the 
front facings, matching the notches on the collar and the 
front facings. Pre.?s the seams open and baste to the canvas 
collar and to the front of the coat, turning in the edges of the 
facing. (lU. 10.5.) 

COLLAR FACINGS of velvet are sometimes used, but 
instead of being applied directly over the interlining the edges 

111.105. The Collar Facing of the velvet are turned under and catch-stitched to the 

under side of the cloth collar. If a velvet collar facing is 

used it should be mide of a seamless bias strip of velvet. One-eighth of a yard of velvet 

cut on the bias is usually enough for a collar facing. AU pressing and shaping of the collar 

must be done before putting on the velvet facing. 

The shawl-collar facing is sometimes cut in one with the front facing. The collar 
proper is out and joined as just described, stitched to the body of the coat and pressed. 
The two facing sections are joined at the back and the seam pressed open. The facing is 
pinned in position. The outer edge of the facing is turned in even with the fold edge of 
the coat and basted. Baste the free edges of the facing in place, being careful to allow 
sufficient ease for the roll. 

Fell the edges to position on the under side unless the neck is sometimes worn high 
in which case the felling stitches would show through. If the coat is to be worn high 
slip-stitch the edges. 

THL COAT COLLAR WHICH IS NOT TAILORED. 
Cut the interlining hke the pattern. The Deltor or Il- 
lustrated Instructions will teU you what kind of interlining 
is to be used. Trim off the seam allow- 
ance on the edges of the interlining 
which are not to be joined to the neck. 
Baste the interlining to the upper section 
of the collar. Turn the outer edge and 
ends of the collar over on the interlining 
and catch-stitch them. (111. 106). Turn 
11 under the edges of the under section of the collar one-eighth of an inch 

\|| more than you turned under the edges of the upper section and baste to 

the upper section one-eighth inch from the edges. (III. 106). Catch 
the under section to the interlining about three-quarters of an inch 
in from the outer edges and also at the line where the collar rolls over. 
Fell the edges to position. (111. 106). Baste the collar flatly inside the 
neck edge of the coat and tell the coat to the collar. 

Give the coat a careful pressing. (Chapter 32, page 154.) 




III. 1U6. The Collar Which is 
Not Tailored 



III. 107. The Inter- THE SLE.E.VE_5. Baste the seams of the sleeves and try them on. 
lining in the Sleeve If they need any alterat'on in size around the arm, make it at the seam 



62 



THE. NE.W DRESS MAKE.R 




II. I 08. Making a Cuff 



marked by outlet perforations. A bias .strip of interlining, or whatever is used in the fronts, 
should be basted into the WTist just above the turning line of the hem part, and the 
cloth turned over and eateh-stitehed to it. (111. 107.) 

If a vent or opening is provided at the outer seam of the sleeve, the extension on the 
upper part is turned under for a hem; and the lower part, neatly faced with the lining, 
forms an underlap. This o])ening may be closed by buttons used as a decoration or by 
buttons and buttonholes. Finish the edge to match the edges of th(> coat. If stitching 

at cuff depth is desired, it nuist be made before closing the 

outside seam. 

THE CUFF. Cut the interlining like the cuff pattern, 
of the same interlining material as used in the collar. 
Trim off the seam allowance of the upper edge and ends. 
Baste the interlining to the upper section of the cuff, turn 
the cuff edge over the interlining and catch-stitch them. 
(III. 1()S.) Turn under the outer edge and ends of the un- 
der section of the cuff one-eighth of an inch more than 
the upper section. Baste the under section to theupper section with its edge one-eighth 
of an inch from the edges of the outer section and fell the edges to position. (111. 108.) 
Put the cuff on the sleeve following the instructions given in the Deltor or Illustrated 
Instructions. 

Baste the sleeves into the armholes. Try the coat on to se<> if the sleeve sets nicely. 
Then stitch it. 

THE BUTTONS. When sewing on the buttons smv them through the coat and canvas 
interlining but not tlirough the facing. (Chapter 24, page 115.) 

THE LINING is the final step of coat-making; the outside must be entirely finished, the 
pockets put in, and all the ornamental stitching done before beginning on the lining. Silk, 
satin, orep<^ de (^hine and foulard are unquestionably the only satisfactory linings for 
a coat. Only the greatest necessity for iH'ouomy warrants using a silk substitute as coat 
lining. The lining may match coat in color or a fancy 
silk or satin may be used accordingly to the style. 

Cut the lining from the same pattern as the coat, allow- 
ing for any alterations which have been nuide in fitting. 

Cut the lining of the fronts to extend to the front facings 
only, and cut the back jiieces each one-luilf an inch wider 
than the pattern to allow for a small plait in the center 
back. Leave good seams, as the lining must be quite 
easy in width as well as length. (111. 100.) If it is tight 
it will draw the outside of the coat and nuike wrinkles. 

Baste a small plait at the center back to avoirl an.\' 
possibility of tightness. With the back piece of the lining 
basted in the coat, the two outer edges will be raw. Catcli 
these raw edges flat with a loose basting-stitch to the in- 
side seams of the coat over which they lie. Now take the 
next piece of the lining and baste it through the center 
to the eorresiJonding |)ioce of the coat, then turn under the 
edge toward the back and baste it down like a hem over the 
raw edge of the bac^k piece, notching the edges of both 
seams at the waistline and imnn-diately above and below 
it, so they will fit the curves of the coat. 

Repeat this method with each piece of the lining. Turn 
it up at the bottom, allowing a little of the cloth to show 
lining draw. 

After all the edges are turned under and bast.ed o\er the iirecedirig picH-es and o-\er the 
raw edges of the facnngs in front, anil o\(M' the edges of the collar at the neck, they are 
neatly felled down to the cloth. (111. 109.) Be careful not to catch through to the outside. 

The lining of the sleeves is cut like the outside and the seams are stitched and pressed 
open. If the sle(>ves are to be interlined, the interlining slunild lie tacked to the sleeve 
lining. It is used on the upper part of the sleeve only, and should stop three inches below 




III. 109. Lining the Coat 

(111. 109) but do not let the 



COATS AND CAPLS 



63 




111. I 1 0. The Sleeve 
Interlining 



the upper edge and three inches above the wTist edge. (111. 
110.) The lining is slipped inside the sleeve and hemmed 
down at the hand and on the small op(>ning at the back of the 
wrist if there is an opening allowed in the sleeve pattern. It is 
then drawn up in place and basted through the cloth of the sleeve 
about five inelies from the top. Draw up the sleeve lining, turn 
in the raw edge, and baste it to the coat lining all around the arm- 
hole and fell it in place. 

THE HALF-LINED COAT 

THE. HALF-LI NLD COAT. Top coats, storm coats, motor 
coats, etc., should only be lined to about twenty-five or twenty- 
si.x inches from the neck. (111. 111.) You need a lining in the 
upper part to cover the interlining and to make the coat slip on 
and off easily. There is no real need for a lining in the lower 
part and it wears out so quickly, from rubbing against your skirt, 
that it is really better not to use it. 

THL SLAM LDGLS. When a coat is lined to the waist 
only, the seam edges in the lower part of the coat must be finished 
neatly. (Chapter 17.) Heavy materials like wool, velvet and 
army cloth are really self-finished, for they are so closely woven 
that they will not fraj' and can be left raw quite satisfactorily. 

Tweed, cheviot, mi.xtures, etc., vill fray and must he bound. 
The seams should be bound with ribbon seam-binding, the color 
of the coat. Seam-binding comes in different widths and you 

can get it wide enough for even a heavy coating. Put the seam-binding on by hand with 

an easy running stitch, sewing 

it neatly and evenly. (111. 154, 

pageSS.) /I ,/^-,f-v-'-">-.-\> 

The seam-binding should 

run up well above the line of 

the lower edge of the lining. 

AN UNLINLD COAT 

An unlined coat needs inter- 
lining to prevent its brealdng 
on the figure. The interlining 
for the front of the coat should 
be cut and put in according 
to the Deltor or Illustrated 
Instructions. The interlining 
in the front of the coat 
should be covered with a 
facing of the coat material. 
The part of the interlining left 
exposed back of the facing 
should be covered neatly with a 
lining. 

In cloth or linen the raw 
edges of the interlining and 
facing of the side fronts should 
be bound together. In silk 
they may both be turned under 
three-eighths of an inch, facing 
each other, and stitched. In 
either case, these edges should 
be left loose from the coat ; 
they should lie against it, but 




111. The Half-Lined Coal 



64 THL NEW DRLSSMAKLR 

should not be caught or stitched to it for the stitches would be objectionable on the right 
side of the coat. 

A YOKL-SHAPE.D PIECE OF LINING MATERIAL must be used in the back of the 
coat. It should be si.x inches deep at the center, and run straight across the shoulders. 
Turn under its lower edge three-eighths of an inch and stitch it in a narrow hem. Then 
baste it to the baeiv of the coat at the shoulders and neck, leading its lower edge free. 

The shoulder edges of the back yokes should be turned under, and then basted and 
felled carefully over the shoulder edges of the front lining. 

In silk the coat should be finished with French seams. (Page 86.) In a coat of cloth 
the seams may be pressed open and the edges bound separately with silk seam-binding 
(Page 88). or they may be bound together, turned to one side, and stitched down flat to the 
coat. If they are pressed open, they need not be stitched again unless you prefer to stitch 
them on both sides of the seam. In heavy wash materials the seams can be handled in the 
same way, using a cotton seam-binding instead of silk. Be sure the binding is shrunken. 
It should be the same color as the coat. Or, on a linen, cotton repp, etc., you can use the 
flat-stitched seam. (Chapter 17. page 87.) 

The lower edge of the coat should lie tm-ned under according to the Dehor or Illustrated 
Instructions, weighted with lead weights at the seams (111. 102), and its raw edge either 
hemmed or bound. 

FUR CLOTH OR FUR 

If the coat is made of fur cloth the entire coat should be lined with cambric before the 
interlining is put in. This cambric re-enforces and strengthen the rather loose weave of 
the fur cloth. It is also used in fur coats if the pelts are tender and perishable. 

COATS FOR GIRLS AND CHILDREN 

The principles and general rules for making coats for girls and children are exactly 
the same as for coals for ladies and misses. They are applied to the simpler form of coat 
used for girls and children. 

CAPL5 

CAPES are made by the same general principles and rules that are followed in making 
coats. The effect of a cape is softer than a coat, and in applying the principl(>s keep the 
idea in mind that the cape should be as soft as required by the design of the cape. It is 
best to follow the instructions given in the Dehor or Illustrated Instructions with each 
Butterick cape pattern. 



CHAPTER 13 

HOU5E DRLS5L5. NEGL1GE.L5. KIMONOS. BATHROBES. 
APRONS. BATHING-SUITS AND ROMPERS 

Patterns— Materials- Culling— Putting the Garment Together— Seams— Finish 

THE. PATTERN. Buy thoso patterns by the measure given on the ein'elope. 
This is the only iiioasure necessary to consider in buying these patterns. Wlien a 
design is cut in fewer sizes than usual it is because the garment is of a type which 
is more or less easy in fit, tlial is. it should not tit as closely as a dress. Never buy a 
pattern smaller than yt)ur iu(>asure. 

In buying romper patterns buy them by the l)ust measure if the child is large or snuiU 
for its age. Chapter 'J gives instructions for measuring ladies, misses, girls and <'hil<lr(>n. 
Many figures vary in the length of the waist, skirt and arm. Before cutting your 
material measure the figure at these jilaces. (Chapter 3, pages 19—23) and compare 
your measures with those of the pattern (Chapter 3, pages 19—23.) If the pattern is long 
or short for you, alter it as e.\plained in Chapter 3. The proper place to alter each 
pattern is given iu the Deltor on the pattern envelope. 

MATLRiAL.5. luad Chapter (i, page .32 on slu-inking materials before cutting your 
material. 

CUTTING. If \<iu are not thoroughly familiar with Butterick patterns read Chapter 
2. Lay your patleru on the material following the layout gi\en in the Deltor for yovn- 
size, width of material and the view of the pattern that you are going to use. If no Delt(U' 
is given with the pattern follow the cutting instructions on the pattern envelope. 

After cutting out the garment nuirk all the working i)erforations with tailors' tacks. 
(Chapter Iti. page S.').) Tim best way to nuirk the notches is to take two or three stitches 
in basting cotton for each notch, or the notches nuiy be clipped, iu which case do not 
make them any deeper than is necessary to see them distinctly. 

PUTTING THF. GARMI.INT TOGETHER. The Deltor or llluslraled lnstru<'tit)us will 
show you with pictures e.\a<'tly how to put the garment t()gethi>r. 

Try th(> garment on and if any slight alteration is necessary, make it at the place pro- 
vided for alterations in the pattern. Baste in the alteration, try the garment on again 
and stitch the seams. 

The materials suitable for each class of garment in this chapter, and the correot finish 
for each garment are given l)elow-: 

HOUSE DRESSES 

MATERIALS. The materials most used for house dresses are gingham, chambray, 
cotton poplin, iTiadras, seersucker, linen- finished cotton materials and striped 
cottons. 

THE FINISH FOR HOL'SE DRESSES nuist be suitable for hard wear and frequent 
laundering. The seams may be finished with flat-stitched seams (Chapter 17, page 87) 
or with French s(>ams (page Sti). 

Arndioles shouhl be finished with flatslitched seams (page ,S7) or overcast (page S2). 
The finish of the edges and the trimming of hou.se dresses change from lime to time as 
new ideas are introduced. The Deltor gives the newest finish for this type of garment. 

05 



66 THE NLW DRLSSMAKE-R 

NLGL1GLL5, KIMONOS. ETC. 

MATE.R1AL5. Crojjo do Chine, Georgette cn>pe, lace, wash silk, wash satin, silk mull, 
silk and cotton crepe do (^hine. cotton voile, dotted swiss, wool batiste, wool albatross 
and challis, are the materials most used for negligees or Idmonos. Corduroy is used for 
warm wrap)5ers. 

The choice of the materials depends on the dressiness of the negligee, etc.. the use it 
is to be put to or the need of the woman who is to wear it. Tea gowns in dainty materials 
and attractive colors are used by many women for tea, luncheon, and dinner at home 
with their intimate friends. 

SEAMS. For all materials except corduroy Fi-ench seams are used (Chapter 17. page 
86). For corduroy use flat-stit<Oied seams (Chapter 17. page S7) unless the WTajiper, etc., 
is lined. In that case use plain seams and i)ress tliem open. 

The nicest corduroy negligees are lined with a thin silk. China silk makes the best 
lining. 

In a more elegant negligee of crepe de Chine, (ieorgette crepe or silk mull, the seams 
may he machine hemstitched. (Chapter 25, page 118.) 

THE EDGE FINISH AND TRIMMING will be found in the Deltor. The styl(>s, 
trimmings and finish change constantly and the newest ideas suitable for each design are 
given in the Deltor. 

BATHROBES 

MAILRIALS. The materials must used for bathrobes are blanket robing, blankets, 
eidor-down, flannel, flannelet and corduroy for warm bathrobes. When warmth 
is not essential terry clotli makes a very satisfactory bathrobe. 

THE SEAMS. In heavy materials such as blanket cloth, blankets and eider-down, 
if the fabric does not fray, tlu> seam edges may be turned to one side and stitched again >4 
or ?sof a" inch from the seam stitching. The edges are then cut off close to tliis stitch- 
ing. If the material dix-s frnij trim the seam edges down to ?s of a'l inch width and 
bind the edges sei)arat(-ly with lining material. Turn both edges to one side and stitch 
tliem through the garmi'nt along the inner edge of the binding. 

In llannelet French seams (jiage S(i) may be used. 

Flat-stitched seams (page S7) n\ay be used in any of the materials mentioned. 

The lower edge and armholes an^ finished like the other seams (>xcept where French 
seams are used. In that case use a regular hem at the lower edgi> of the bathrobe. 

In joining the collar to the neck if the material is bulky stitch the undi-r section of the 
collar to the neck with the seam toward the wrong side of the robe. Clip the seam to 
prevent its drawing the neck and turn it up. Cut olT the seam allowance on the neck 
edge at the outside section of the collar and liind it. Baste and stitch it to the neck of the 
batlu'obo over the first sewing, stitching along the inner edge of the binding. 

THE EDGE FINISH AND TRIMMING will be found in the Deltor. 

APRONS 

1\ /lATERIALS. Gingham, chambray, percale, madras, seersucker, linen-finished 
■^ ' A ('ottons, flowered sateen and cretonnes are the material most used for aprons. 

THF. FINISH of aprons like the finish of house dresses must be made to stand hard 
wear and frequent laundering. In bungalow aprons use flat-slitclu<d s(>ams (page 87). 
French seams (page 86) may also be used for bungalow aprons and otlur aprons. 

THE EDGE FINISH OR TRIMMING will be found in the Deltor. Now that mod- 
ern conveniences have made it possible for so many women to do their own house- 
work there is more interest in aprons and new ideas in trimmings are introduced each 
season. The Deltor gives the newest and most attractive finish for each design. 



HOU5L DRE.55E5. NE.GLIGLE5. LTC. 67 

BATH1NG-5UIT5 

THE same general principles and rules followed in nialdng waists (Chapter 7) skirts 
(Chapter 9) and bloomers (Chapter 14, pjigo CO) are used in iimkiiis batiiin^'-suits. 

MATERIALS. The materials most used for bathing-suits are surf salin. tatTi^ta, surf 
cloth, brilliantiue, or jorsev cloth. 

ROMPE.RS 

HE- MATER1.AL5 most used are Kingliam. chambray, cotton poplin, galatea, seer- 
sucker, linen and hnen-tit\ished cottons. 



T 



SLAM5 for rompers must be finished to stand hard wear and constant laundering. If 
the effect of the romper is at all soft use Krencli swims (Chapter 17. page 8()). For little 
straight rompers or the body of a two-piix-e romper wliere a tailored etTecl is desired use 
flat-stitched seams. (Chapter 17, pageS7). 

Another way of gi\iiig a tailored elTect to rompers is to cut the seams to about ^ of an 
inch width and prt>ss them open. Baste lawn seam binding flat to tlie inside of the body 
to completely cover tlie seam, stitch along the edges of tlie seam binding to give the effect 
of a tailored seam from the outside. 

ArmhoU's may hi' tinisheil as llat-stitched seams, (Chapter 17, page 87) overcast (Chapter 
16, page 82), or bound with lawn seam liinding. 



CHAPTER 14 

MAKING AND FINISHING UNDE.RGARMENT5 

Patterns — Materials — Cutting — Putting the Garment Together — 5eams — Trimmings 

UNDE-RWEAR is the easiest type of sewing. There is practically no fitting to be 
done and the construetion is of the simplest possible kind. It is a very good 
idea, therefore, for a beginner to start with an underwear garment before she 
undertakes a blouse or dress. 

PATTERNS — Buy your pattern by the measures given on the pattern envelope. 
No other measure need be considered in pm-chasing these patterns. It is very important 
that these measures be correct. The right way to take your measures and instructions 
for bujing patterns are given in Chapter 2, pages 10 — 12. 

Before cutting your material read the instructions in the Deltor or pattern en\elope 
for altering the length of the pattern if necessary. If you are of average size and height 
it is probable that no change will be needed, but if you are shorter or taller than the 
average it is advisable to adjust the length of the pattern before cutting your material. 
To make any alteration that is necessary read Chapter 3, pages 19 — 23. You should 
also read Chapter 2 on "Butterick Patterns." 

MATERIALS. The materials most used for nightgowns, camisoles, corset-covers, 
petticoats, drawers and combinations are batiste, nainsook, long-cloth and cross-bar. 
These are practical materials, and the plain or flowered batistes, cross-bars and nain- 
sooks are also very dainty. Many women like cotton crepe for it is easy to launder, 
and it is used in the plain or flowered crepes or the crepes vnth bird designs. Muslin and 
cambric are used for garments that are to have hard wear. The French use cotton voile 
in dainty colors. For fine underwear the best materials are handkerchief linen, 
crepe de Chine, wash silk and wash satin, silk mull, especially with a gauze stripe, silk 
muslin, and the occasional net and Georgette crepe for camisoles and petticoats. The 
Oriental silks, both the (^hinese and Japanese, are used for a good many tilings, especially 
for pajamas, while outing flannel is used for both pajamas and nightgowns. Pajamas 
are also made of any of the silk or cotton materials mentioned. 

Itahan silks and silk jersey are nice for knickers, which are also made of sateen, satin, 
China silk and crepe de Chine wlien they are worn under dresses in place of petticoats. 
These knickers are more comfortable than a petticoat under a narrow sldrt, and may 
be worn under any skirt of a good weight wool material or under any silk or satin skirt 
which has a drop skirt. For tliis purpose it is better to make them in a longer length. 
Dark colors are i)ractieal, especially for the street, but flesh color and white are very 
dainty. If they are used instead of drawers they should be made in a shorter length, and 
in either the silk or cotton materials they should be white or flesh-color. 

Princess slips are made of crepe de Chine, Georgette, wash satin, Japanese silk, sateen, 
batiste, cotton voile and silk mull. 

Bloomers for gymnasium suits are made of serge, khaki, sateen, cotton poplin and 
brilliantine in dark colors. 

CUTTING. Lay the pattern on the material, following the layout for your size, 
view and width of material given in the Deltor or following the cutting instructions 
given on the pattern envelope. Mark the notches with two or three stitches taken 
in basting cotton, or clip them. In the latter case only cut them deep enough so that 
you can see them easily. Mark all the working perforations with tailors' tacks. (Chap- 
ter 16, page 85.) 

68 



MAKING AND FINISHING U N D E RGAR M LNT5 



69 



PUTTING THE GARMENT TOGETHER. Put the garment together and baste 
it, folloA\'ing the Deltor for putting together or the Illustrated Instructions. Try the 
garment on and if necessary make any slight alteration. 

Although there is a particular daintiness and charm about hand-made underwear, 
much fine and beautiful work may be done on the machine. The saving of time is so 
great that when a number of pieces are to be made this method is usually given the 
preference. A few of the smaller pieces — a corset co\er, chemise or a pair of drawers — 
can easily be made by hand, but the amount of work on gowns, petticoats or combination 
garments inclines one toward the machine method. 

One must understand something of the mechanism of the machine. It must be kept 
clean and well oiled. The number of the thread, the size of the needle, the length of the 
stitch, and the adjustment of the tension must be adapted to the material. No. 80 
cotton is the best for white work, except for tucks and hems and all outside stitching on 
very sheer and fine materials, when No. 100 or No. 120 may be used. Everj' make of 
machine has a table giving the sizes of needles that should be used with certain number 
threads, which it is wise to follow. Remember that a sewing cotton requires a looser 
tension than silk. 

The hemming and tucking attachments are great time-savers, but many women prefer 
to gather ruffles, puSs, etc., by hand and stroke them. 

In MAKING underwear it is important that there should be no raw edges. This not 
on].\ makes it neater and daintier, but it makes it stronger and better able to stand 
frequent laundering. It is washing that wears out underwear more 
than the actual use. 

SEAMS. In sheer materials it is necessary to make the seams 
as invisible as possible. French seams are best on this account 
(Chapter 17, page 86). In fact, French seams are used on all 
underwear, whether it is sheer or not, because they show tlie 
least. These seams should be made as narrow as possible. In 
materials like batiste, silk muslin, net and Georgette the seams 
may be joined with a narrow lace seaming. The method that is 
used for this seam is shown in Illustration 307, Chapter 27, page 133. 
In all underwear, seams should be as narrow as possible. In mate- 
rials like thin silk, net. Georgette, silk mushn and batiste the 
seam edges may be cut very narrow, rolled and whipped together. 
The method is the same as in 111. 152, iiage 87, only both edges are rolled instead of one. 
In all materials that suggest daintiness machine hemstitching may be used for the 
seams and for trimming. (Chapter 25, page 118.) In the heavier cottons and silks 
where a tailored finish is desired flat fell seams (Chapter 17, page 87) are used. They 
should be made as narrow as the material will permit. Flat-stitched seams (Chapter 17, 
page 87) are the strongest seams for underwear and are often used for drawers, especially 
for children's drawers and for pajamas. They are always used for the pajamas when a 
mannish tailored effect is desired. A fell seam is used to piece the material in cutting 
unusually wide garments such as drawers, etc. 

The edges may be hemmed (Chapter 18, page 91 ) faced (Chapter 19, page 94) or 
trimmed in the various ways suggested in this chapter. 

For bloomers, both French seams and flat-stitched seams are used. A strong flat seam 
is especially good for g>-ninasium wear. It may be made by stitching the seam and 
pressing it open flat. The curved part of the front and back should be slashed half-way 
to the stitching every httle way, so that the seam will be perfectly flat and will not draw. 
Trim off the corners of the slashes to give a curved edge (lU. 112) and finish 
the edges of the seam with a narrow ribbon binding or with a bias binding of sateen or 
percaline the shade of the material. Use flat-stitched seams in piecing. 

BINDING THE SEAM. The seams of bloomers may be bound with ribbon binding 
sewed on by hand with a running-stitch or stitched on. Or the seams may be bound 
with sateen or percaLtne cut in bias strips an inch wide. Baste the bias binding on the 
right side of the seam edges, turn it over the raw seam edge turning in the raw edge, and 
baste on the under side, keeping the turned edges even on both sides of the seam. Stitch 




111. I 13. Binding (he 
Bloomer 5eam 



70 



THE. NEW DRL55MAKLR 



(111. 113. 
tratiou 1 
waistlino 



close to the inner edge of the binding. 
This type of binding is more servieoable 
than ribbon binding for a garment that is 
to ree(>ive hard wear. 

TAPING SLAMS. If the bloomers are 

used for gymnasium the strain on tln' seams 

will be \'ery great. They eau be reenforeed 

with firm black linen or cotton tape about 

3 s of an inch wide. Baste this tape directly 

at the center of the scam on the inside of 

the garment and stitch through the tape, 

seam and garment close to each seam edge. 

) This will give the effect of a tailored seam from the outside as shown in Illus- 

14. Be sure the tape is in one continuous piece from waistline in front to the 

in back and from the lower edge of one leg to the lower edge of the other. 




1 13 and 1 14. Taping the bloomer ieams 



TRIMMINGS. The daintiest and at the same time the most effective trimming for 
lingerie is hand-embroidery. It is used on all the most beautiful Fi'ench underwear, and 
is ^•ery lovely to look at, and yet adds \ery little to the cost of the garment. It is the 
only trimming that does not wear out, and it never requires mending. For every-day 
wear the simple scallops and eyelets which can be used in place of beading are very 
satisfactory. More elaborate designs can be used on finer lingerie for e\ening wear, 
etc. One can get very beautiful effects by combining hand-embroidery with lace. All 
the best designs of different kinds of embroideries suitable for underwear are to be had 
in Butterick transfers which are illustrated in XexlU-Arl. 

Tucking mad(^ either by hand or 1\\- machine is used on all types of underwear. It 
may be either plain or fancy tucking. (Chapter 20, page 97.) 

r^OUBLE ban<ls of not or Georgette are hemstitched to underwear of silk or batiste to 
finish the edges and to form a finish and also a casing for a ribbon. They are 
also set in garments below the hem.s, and have ribbon run through them. Satin bands 
are used on garments of (Jeorgette, net, silk muslin, etc. 

MOVELTY braids, particularly rickrack. are stitched to the edges of garments. They 
form a beading as well as a finish for the edge, since the points are only caught on 
one side of the braid. 

jyiKDALLIONS of silk. Georgette and net, many of them embroidered, are set in gar- 
ments of a contrasting material. 

^ ARROW crocheted edges, often forming a beading, are used on many of the bet- 
ter class of undergarments in all materials, even satin. Needle-Art gives these 
edges both in crochet and tatting. 

(^ROSS overcasting and double overcasting (Chapter 25, page 124) such as are used as 
a trimming in waists and dresses are also used as a trimming on underwear of Geor- 
gette, batiste, nainsook and silk muslin. 

QHAPED hems and facings are usihI at the edges of garments of all materials. They 
may be made of either tlu> material of the undergarment or of contrasting material, 
and are either set in with machiiae hemstitching ( Chapter 25, page 1 18^ or else are feather- 
stitched in place (page 120). These hems and facings may be shaped at either the 
inner or outer edge. Hows of narrow bias bands of the same material or of contrasting 
material are used around necks and at the lower edges of flounces. They are ^■ery pretty 
in fine striped or checked material on a plain material and are stitched on by machine 
or hemstitched. 

rjRAWN-WORK and hemstitching are very lovely on handkerchief hnen, batiste and 
\oile, and are used a good deal on the better class of French underwear. They are 
very dainty. 



MAKING AND FINISHING U N D E RGA R M LNT5 71 

MET FLATTINGS are used at the edges of garments of Georgette, silk, silk muslin 
and batiste. 

DIBBON and satin plaitings are used on garments of Georgette, net, thin silk and 
batiste. 

I ITTLE colored flowers usually made of satin, Georgette or ribbon are used on finer 
underwear, espeoially at the top of flounoes. Rosettes are also used on fine underwear. 
Many silk garments are finished with bandings and cordings of the underwear materials. 
Edges are often finished with nicot and sometimes have several rows of machine-stitching 
above the edge, either straight, sealloped or in points. 

T ACE is used on almost all underwear. It is usually a machine lace, though on the 
finer underwear certain real laces are used, such as Valenciennes, Irish, filet and 
Binche. The different ways in which you can use lace as a trimming are given in 
Chapter 27, pages 134-136. 

DUFFLES are frequently used for trimming on petticoats and drawers when full 
styles are in fashion. (See Chapter 27, pages 132-133.) 



CHAPTE.R 15 

MATLRNITY CLOTHLS AND THL LAYLTTL 

Skirts — Inside Belts — Waists and Blouses — Waist Linings — Coats — Capes — 

Suits — Materials — Colors — Corsets — Shoes — Lingerie and 

Underwear — The Layette 

MATERNITY clothes have two objects: One is to make your condition unnoticeable, 
the otlier is to give you every physical advantage possible. If your clothes make 
you feel conspicuous and awkward you will shrink from going out and will suffer 
from lack of exercise and legitimate amusement which would keep you in a happy, 
contented frame of mind. Under such conditions you would be likely to become morbid, 
and your depression might seriously affect the physical condition of your child and his 
character and disposition. If you keep happy and contented yourself you stand a better 
chance of having a happy, sunny, normal child. 

Your clothes must be the right weight so that they will not tire or strain you. They 
must he the right size so that they give your figure proper support without compressing it 
or retarding its development. 

Clothes that are designed solely for maternity wear are apt to look the part, and call 
attention to a woman's condition. At this time you do not want to be conspicuous in any 
way. Y'ou want to look as much like other women as possible so that there will be nothing 
to draw notice to you. It is much better to choose current styles that can be adapted to 
maternity wear and use them in preference to the special maternity clothes. Y'our things 
will be prettier and smarter and of more use to you later. The slight alterations that you 
make for maternity use can be changed back to normal lines after the baby is born. 

You should avoid anything that is extreme or bizarre or that will enlarge your figure 
unnecessarily. Skirts with plaits, long soft tunics, or soft fulness are admirable, for they 
give you the size you need at the waist. Y'ou should not use a skirt that is extremely 
narrow. It might become too small for you before the baby is born. If you select .such 
a style it is advisable to add sufficient width to it in cutting. 

SKIRTS— .\ skirt can be adapted to maternity use by allowing extra length at the top 
in front. The allowance should be three inches deep at the center front and slope to 
nothing to the hip. As your skirt grows shorter across the front you will let out this allow- 
ance to keep it even at the bottom. A skirt that is short across the front and pokes out 
calls immediate attention to your condition. Until you need this extra allowance it can 
be turned under and its inside edge covered with seam binding. 

THE. INSIDL BLLT of skirts and dresses should be of elastic webbing. New belts 
should be put in from time to time so that the belt will always be easy. It should never 
compress the figure. The point of the elastic webbing is not to allow the belt to stretch 
to your new proportions; it is to allow for the transient changes in the figure, the temporary 
inflations that come and go during the day. 

WAISTS AND BLOUSES— In selecting waists either for separate blouses or as part of 
dresses, choose soft styles that do not fit the figure too closely. Long overblouses when in 
style are very good, "because they have plenty of size at the waistUne. Surplice waists, 
especially when they are made with sashes, adapt themselves to your changing figure with 
the tying of the sasli. Waists with soft fulness when they are used as part of a dress made 
with "a soft skirt should be joined to the skirt before either the waist or the top of the skirt 
is gathered. A casing should be placed at the waistline and the fulness of both the waist 
and skirt drawn in with the same drawstring. (Chapter 23, page 111.) 

72 



MATERNITY CLOTHES 73 

WAIST LININGS — It is better not to make dresses and waists with waist linings which 
would have to be altered from time to time. Instead you should wear a brassiere that sup- 
ports yoiu- figure and keeps it neat and trim. A brassiere should not be worn at all snug, 
for it must not compress the figure or prevent its development. Surplice brassieres are ex- 
cellent, for they adjust themselves each time they are put on. Or you can use the fitted 
brassiere with under-arm seams laced with elastic cord which can be let out when necessary. 

COATS, CAPES, SUITS — For the street a long coat or a cape is usually better than a 
suit. For some seasons suit styles are excellent for maternity wear. The coat should not 
be close fitting. It should have plenty of wid th at the waistline, and if necessary it should 
be cut with extra width allowed on the front edge of each front so that it will not become 
too small. 

MATERIALS AND COLORS— It is advisable to choose materials that are as light in 
weight as possible especially for coats and street dresses. As far as possible wear the 
light-weight silks and satins even in Winter in your dresses. Get the necessary warmth 
from your underwear and your wTaps. Coats and wTaps of course must be warm for 
cold weather, but you can choose materials that are warm and light. 

Do not choose loud or light colors for maternity use. The quiet colors are less notice- 
able and the dark colors make you look small. A^'oid anything with large figures or con- 
spicuous stripes, checks or plaids. In Summer you will want to wear white and light colors 
during hot weather, because they are cooler than dark colors, but in other seasons the 
dark colors are more practical for the street. LTse light colors for the house. 

CORSETS — As soon as you find that you need them get the best maternity corsets that 
you can afford. The muscles of the abdomen require additional support at this time and 
if you wear poor corsets or go without corsets altogether you run the risk of getting per- 
manently out of shape and perhaps losing your figure altogether even after the baby is 
born. If you keep well corseted the chances are that your figure will come back to its 
original lines. 

With your corsets you must wear hose supporters. A round garter is very dangerous, 
for it checks the circulation and might induce varicose veins. 

SHOES — Your shoes should have flat, rather low heels so that you will not run the risk 
of turning your ankles and getting a fall. In wet or slippery weather be sure to wear rub- 
bers. If you fall or WTench yourself you might bring on a miscarriage. 

LINGERIE AND UNDERWEAR— For maternity wear you mil probably need lin- 
gerie at least two sizes larger than the underwear you ordinarily use. Instead of petti- 
coats it is advisable to wear princess slips, for the weight rests on the shoulders instead of 
at the waistline. If you use combination drawers and corset cover you must allow extra 
length in the lower part in cutting them. Slash the pattern just below the hip and sepa- 
rate the pieces about three inches before you cut your material. In your envelope che- 
mises you will need extra length at the end of the tab. Make a three-inch allowance on 
the tab in cutting. Nightgowns should open down the front. 

In Winter wear wool or part wool union suits, and many doctors advise long 
sleeves and drawers that come to the ankle. It is very important to keep the bodj' an 
even warmth. If you take cold at this time it is likely to go to the kidneys and cause 
trouble later. 

You should place yourself under the care of a good physician as soon as possible and 
follow his advice in regard to exercises, diet, etc. Under normal conditions a certain 
amount of exercise is very desirable. It keeps you in good general condition. 

You ought never to lift heavy things, or reach up for anything that might strain you. 
Violent exercises of course are taboo. 

THL LAYETTE, 

A LL baby clothes should be white, and as fine and dainty as possible. Pale shades of 

baby pink and blue can he used for ribbons on dresses and caps, for linings in lingerie 

caps and for the linings of Summer coats of batiste, handkerchief linen and crepe de Chine. 



74 



THE. NLW DRESSMAKER 



Pale pink and blue are also used for baby jackets, sweaters and bootees, and for afghans, 
blankets, shawls, etc. But the actual dresses, slips, caps and coats, petticoats, etc., are 
always white. 

The layette given below is absolutely complete and large enough to keep a baby fresh 
and dainty if one can have constant laundry work done. It is, however, the smallest 
possible layette that is safe to start with, and if possible it would be desirable to enlarge 
it especially in the matter of diapers, bands and shirts. With as small a layette as this 
you might be tempted to put on a band or shirt twice without washing them first, or put 
on a diaper that had not dried entirely. A little baby must be kept absolutely clean, 
warm and drv. You must have: 



4 abdominal bands, soft flannel strips un- 

hemmed. 
4 knitted bands with shoulder straps 
4 shirts size 2, wool and cotton, or wool 

and silk, not all wool 
4 dozen diapers 

4 flannel petticoats or 4 barriecoats 
4 cotton or lawn petticoats 
6 simple slips of thin cambric or nainsook 
2 dresses 
2 wrappers 



The baby's basket should contain: 

.\n old, soft clean shawl or 
blanket to receive the 
baby at birth 

4 dozen safety-pins, differ- 
ent sizes 

.\ roll of sterile gauze 

Squares of old linen to be 
thrown away after 
using 

Absorbent cotton 



3 pairs of bootees 

4 pairs of stockings, silk and wool or cot- 

ton and wool 
4 nightslips, or nightgowns of flannel 

1 coat and cap, and 1 veil 

2 cashmere sacks 

2 blankets 

1 bath apron 
1 rubber sheet 
6 soft towels 

3 knitted wash-cloths 
6 pique bibs 




A Flannel Band 



2 ounces of boracic acid 
4-ounce bottle of olive-oil or 

sweet-oil 
Talcum powder 
Hot-water bag with flannel 

cover 
Infants' soft hair-brush; jar 
of vaseline; small pair 
of scissors 
Cake of Castile soap 
You will need a bath thermometer, bath scales and an 
enamel tub. Tubs are quite expensive unless you get a tin 
one and enamel it white inside and pink or blue outside. 



BANDS — The flannel bands are worn to protect the navel-cord dressing until the baby 
is si.x weeks old. If they are tight they will prevent digestion and cause hernia. They 
must be smooth and firm, but not tight. You can 
make the flannel bands with raw edges or turn the 
edges on the right side and catstitch them. (111. 
11.5.) When the baby is si.x weeks old. he begins 
to wear the knitted bands with shoulder-straps. 
They protect him from cold and colic. The tabs 
at the front and back are pinned to the diapers 
to keep them in place. 

SHIRTS — If you buy the baby shifts, get th«> 
second size, for they outgrow the first size almost 
immediately. It is much less expensive to make 
them yourself from fine white flannel. Every 
stitch should be made by hand with great care in 
finishing all of the seams, hems and turnings as 
flatly as possible, as otherwise they are hkely to 
make the child uncomfortable. The shoulder 
and underarm seams should be pressed open, 
after stitching, and both seam edges catstitched 
on the inside of the garment. m , , g. flannel Shirt with 

Double turned hems are frequently dispensed Crocheted Edses 




MATLRNITY CLOTHES 



75 



with on the front 
and lower edges of 
shirts. In some 
cases the flannel is 
turned only once 
and a loose button- 
hole o r crochet- 
stitch in soft 
Saxony wool or silk 
floss is made over 
the edge. This 
finish is shown in 
111. 116. 

DIAPLR5 — 

There are three 
kinds of diapers — • 
bird's-eye hnen, 
cotton diaper cloth 
and stockinet. 
They are twice as 
long as they are wide and are 
finished with narrow hems 
at each end. You wU need 
three pieces of the diaper 
cloth, eighteen, twenty and 
twenty-four inches wide. If 
you like, you can buy tlir 
diapers ready made, sterilized 
and ready to use. 

PETTICOATS —An infants' 
petticoat is finished accord- 
ing to the material of which it 
is made. The princess petti- 
coat is the best style for thi 
baby, for it is the easiest to put 
on, the weight hangs from thr 
shoulders, it keeps the body a?i 
even warmth and it is loose at 
thewaisthne. (111. 117.) Sonn- 




'. Flannel .Skirt in Princess Style, 
Closing on the Shoulders 




women prefer a 
petticoat gathered 
to a band or body, 
but the princess 
style is safer and 
is used at the 
best baby hospi- 
tals. 

FLAN N L L 
PETTICOATS 

should be made of 
fine flannel. The 
seams should be 
stitched and fin- 
ished as shown in 
Illustrations 13Sor 
139 on page S3. 
The underarm 
seams are finished 
in the regulation 
manner with catch-stitching or 
feather-stiteliing. 

The bottom of the skirt may 
lie embroidered, scalloped or 
trimmed with feather-stitching, 
or the hem can be finished as 
shown in Illustrations 173 and 
174 on page 92. 

The princess petticoat is fast- 
ened on one or both shoulders 
liy ribbons or buttonholes. The 
neck and armhole edges may 
l>e bound with ribbon or tape 
or finished with a scalloped 
edge worked in white embroi- 
ilery silk. (111. 117.) If the 
petticoat is to be embroidered 
don't cut out the neck and 
armhole but mark the outline 
of the pattern with a colored 



II I 1^ II. [11111. ■, I I'l.Kkt-l 





111. 1 1 9. Petticoat Joined to Single Bodv 



111. 120. Petticoat Joined to Double Bodv 



76 



THE NEW DRESSMAKER 



thrcatl. Thf design can be stamped alone; the outline and cut out after the embroidery 
is finished. 

The pettieoat joined to a body is shown in lliusli-ations 11!) and 120. 

The petticoat is finished in French .seams. The upper edge is gathered with fine stitches 
and joined to the bodj' after the placket has been hemmed with a very narrow 
hem on one side, and one three-quarters of an inch wide on the other (111. US). Lap the 
wide hem over the narrow (111. 118), and tack firmly at the bottom of the placket with 
two rows of machine stitching, preferably running slanting (111. 118). 

The liody is either cut single of llannel or cambric and faced at the neck and armhole 
after the shoulder and underarm ar(> joined in a French seam (111. 119), or cut of two layers 
of cambric, one serving as the lining (111. 120). 

If a single body is used the seam joining the body and skirt is made toward the inside. 
A bias strip of cambric is placed next to the petticoat in the same seam, which is then 
stitched, turned over and hemmed to the body (111. 119). 

If made double, stitch the under-arm seams of both outside and Hning: place the right 
sides of the material tog(>ther and stitch all e.xc(>pt the lower edge and shoulder seams. 
Clip the curved edges, turn the body right side out and crease along the sewing line. It 
may be stitched again on the outside to strengthen the edges and hold the seams in posi- 
tion. The top of the petticoat is gathered and basted to the lining with the seam toward 
the inside (111. 120). Turn this seam up on the body; turn in the edge of the outside 
piece and stitch it over the gathers, covering all previous stitchings (111. 120). The shoul- 
ders are stitched in a fell scam. (Chapter 17, page 86.) 



A BARRIECOAT OR PINNING BLANKET is an open front petticoat made of flannel 
and sometimes used in place 
of a flannel petticoat. Its ends 
can he turned up and pinned 
to keep the baby's feet warm. 
Hospitals and doctors do not 
approve of it, for it prevents 
the baby from kicking and 
strengthening its legs. The 
front anfl lower edges are 
turned in hems and feather- 
stitched on the outside. (See 
111. 121.) 

The body is cut from tine 
cambric, and though the edges 
may be bounil or faced, it is 
better to make the body 
double. Join the shoulder 
edges of both the outside and 
inside, and press the seams open. Lay the two body portions evenly together, with the 
shoulder seams of both toward the outside. Stitch a seam around the upper edge and 
across the part of the lower edge not sewed to the skirt. The ends are left open until 
the tape is in.serted. The body is stitched where it is sewed to the skirt after the 
skirt is joined to it. After they are stitched, the two body parts are turned to bring the 
seam edges inside. The edges at the pointed ends .ire tin-ned in and the end of the piece of 
tape is slipped into each opening. Gather the skirt and join it to the body as shown in 
Illustration 121. Baste around the armhole about one inch from the edge to keep the two 
portions evenly together. Clip the raw edges and turn one in a seam's width and baste it ; 
then turn the other edge in and baste it to the first. Stitch or overhand the two folded edges 
together to finish the armhole. The edges of the body portion should be basted and then 
feather-stitched. Baste about an inch each side of the perforations that indicate the open- 
ing to be made at the right side. Cut through the perforations and bind the opening with 
soft riblion or silk tape. If preferred, the skirt may be mounted on a straight band, made 
double, instead of on the shaped body. The straight band can be lapped and pinned. 




111. 121. A Pinning Blanket with Tie Ends 



WHITE PETTICOATS— Here again the princess style is the best though the petticoat 
gathered to a band or body is also used. White petticoats are made of batiste or nainsook 



MATERNITY CLOTHE.5 



77 



or cambric, and are trimmefl with tucks 
(Chapter 20), feather-stitching (Chapter 
25), French knots, or with ruffles edged 
with lace or with ruffles of eml^roider y (Chap- 
ter 27) or a deep hem (Chapter 18). 

SLIPS — Day slips are made of batiste, 
nainsook, lawn, fine cambric or cross-barred 
dimity trimmed simply with a little narrow 
lace at the neck and sleeves. Babies wear 
them in place of dresses most of the time, 
for under afghans and blankets a dress 
shows very little. 

Night sUps are made like the day slips 
l)ut without the lace and are usually of fine 
cambric (111. 122). Many hospitals use a 
flannel nightgown which is worn in place 
of the nightslip and flannel petticoat. 

A slip should he 





The 5lip 



111.123. Finish ol 
Closing 



put together with 
narrow French 

seams. In the model shown in HI. 122, the neck is finished with 
a bias binding. A narrow tape is run through the binding so that 
the neck can be drawn up to the right size when the slip is worn. 
Make an eyelet in the outside of the neck-binding just in front 
of the underlapping hem. Pass the ribbon through this opening 
so that it will meet the other end that comes from the opening 
of the overlapping hem (111. 122). 

The neck and sleeves, which should be gathered into narrow- 
bands at the bottom, may be edged wdth a friU of lace. The 
back is cut down through the center to the depth given for the 
opening in the pattern instructions. Each edge of the opening is 
finished with a tiny h( m. A plait is then made deep enough to bring 
the opening back one-half inch from the edge ( 111. 123). It is held 
in place by a slanting row of stitching at the end of the opening. 

DRESSE.S — The baby will need a handsome dress for eliristen- 
ing robe made of lawn, nainsook, batiste or handkerchief linen. 
The christening robe is generally made with a yoke and panel in 
front and this part of the dress can be of all-over tucking, or very fine embroidery. The 
simpler dresses are made of lawn, nainsook, dimity and batiste and are trimmed with 
smocking, hemstitching, featherstitching, French knots and tucks. Fine little dresses 
are made of batiste, fine nainsook and handkerchief linen usually with a small embroidered 
yoke and with an embroidered or laee-trimmed ruffle at the bottom. 

A DAINTY YOKE may be made by over-handing together alternating rows of lace 
insertion and embroidery insertion. 

Fine tucking rolled and whipped to lace insertion also makes a pretty yoke. 

Narrow seaming or hemstitched beading may be used to join the yoke to the dress. 
The material on each side of the seaming should be rolled and whipped (111. 311, page 
134), to the yoke on one side and the dress on the other. Or the seaming can be joined to 
the dress and yoke with tiny French seams. 

The shoulder seams may be joined with the seaming in the same way. and the seaming 
may be used as a finish for the neck and slee\es. The material on the lower edge of the 
seaming should be joined to the neck and sleeve edges as described above. The material 
on the outer edge of the seaming should be cut away close to the seaming and a narrow 
French valenciennes lace whipped to the seaming to finish the neck and sleeves. This 
makes a dainty finish. 

Baby clothes should be made entiiely by hand and in the dresses the seams should be 
put together with narrow French seams or fine entre-deux. (Chapter 27, 111. 307.) For 



78 



THL NE.W DRL55MAKER 



special occasions the baby's dresses can be trimmed witli shoulder bows and rosettes of 
blue, pink or corn color. 



COATS — Even in Winter very little babies go out of doors when the temperature is 40 

degrees or over. For Winter the coat 
should be of silk or wool Bedford cord, 
silk or wool cashmere, Henrietta or very 
fine corduroy. In these materials the 
coat is trimmed with stitched bands of 
taffeta, swan's down, embroidery or 
suitable laee. It should be lined with 
soft silk, China silk or fine sateen 
and for cold weather or a cold climate it 
will need an interlining of fine wool or 
fine silk or a soft flannel. These coats 
are always white. 

If wool interhning is used the wool is 
picked away from the cheese-cloth 
around the seams to avoid bulkiness. 

It should be cut without the seam 
and hem allowance. Instead of making 
the regular seam, draw the shoulder and 
underarm edges together with a loose 
overhand or ball-stitch, (page 147, 111. 
351) making them lie perfectly flat. (111. 
124.) The outside of the coat is turned 
under at the bottom and catch-stitched 
to the interlining. 

The Lining is cut like the outside and 
seamed in a regular seam, which is 
afterward pressed open. Place the 
seams toward the inside and baste the 

111. 124. How Lining tind Interlining Are Used 

lining to the coat. The lining at the bottom 
of the coat should be one-half inch shorter 
than the coat after its lower edge has been 
turned up. (111. 124.) 

Place the lining in the sleeves; gather sleeve 
and lining separately at the top. Stitch the 
sleeve in the coat leaving the lining loose. 
(111. 12.5.) Later it is hemmed down over the 
stitching of the armhole. 

The CoUnr is made unlined. with a facing of 
the lining material. It is stitched to the neck 
of the coat, and the lining of the coat hemmed 
against this stitching. If the coat has a cape 
it is sewed on like the collar. 

For Summer very dainty coats are made of 
batiste, dotted swiss, handkerchief linen or 
crepe de Chine over a lining of white, pale 
pink or pale blue China silk. They are trimmed 
with hand embroidery in small fine patterns 
and with lace. 

Pique and henrietta could also be used for Summer baby coats. The lower and front 
edges may be hemmed by hand or held in place by machine stitching on the outside. 
The same finish is carried out at the neck and wrist. 

CAPS— For Winter the cap matches the coat in material and trimming, or if you prefer 
you can use lingerie caps over a padded silk lining of white, pale pink or pale blue China 





111. 1 25. Detail of Sleeve Lining 



MATLRNITY CLOTHLS 



79 




III 126. Applying a Band 



silk. The cap-strings are always separate 
and are made of hemstitched lawn, ba- 
tiste or handkerchief linen. They are 
pinned on with baby pins and changed 
every day. In Winter a baby will need 
a ready-made veil of fine knitted silk or 
Brussels net edged with satin ribbon. 

THE KIMONO OR WRAPPER is a 

very practical garment and may be 
made of flannel, cashmere or any light- 
weight woolen material. A very pretty 
little garment may be made of French 
flannel, dotted or plain, with a shaped 
band of contrasting silk or flannel. 
(111. 126.) 

The garment is eollarless, and the 
neck and front edges, as well as the 
sleeves, are finished with shaped bands. 
The band is basted to the inside of the 
wrapper, along the neck and front edges. 
After it is stitched on, the band is rolled 
over on the outside of the wrapper and basted in such a maimer that it extends a trifle 
beyond the Joining seam. The other edge of the band is turned in and basted flat to 
the material (lU. 126) and is held in position by a feather-stitch. When a straight band is 
used, one long edge is joined to the ^Tapper with the seam toward the outside; the 
other edge is then turned under and basted over the seam as shown in Illustration 127. 
French knots and various fancy stitches, scalloijs or little trailing vines of embroidery 
can be used very effectively in the trimming of these wTappers. Silk or satin ribbon may 
be used for the straight band. Some of these kimono wrappers are lined throughout with 
soft India silk. The wrapper design mentioned above is perforated in the correct length 
for a house sack. This convenient little garment is made like the wrapper in every par- 
ticular, except the length. 

A dainty little sack is made of white cashmere lined with pale pink India silk. Both 
the outside and lining portions are cut exactly alike, the seams stitched and pressed open. 
The sack and lining are then basted together, \\'ith seams tiu-ned toward the inside. The 
sleeve portions are gathered separately at the top. Sew the outside material of the sleeve 
in at the armhole. Turn the raw edge of the sleeve lining under, gather it and hem to the 
armhole. A tiny turnover collar may be added wdth the same kind of finish. The edges 
of the sack may be turned in and secured with a row of feather- 
stitching, or they may be buttonholed together by a scalloped 
edge. The feather-stitching is given in Chapter 25, "Trim- 
ming Stitches." 

LITTLE SHOES AND SLIPPERS made of a washable 
material are a pretty part of the layette. The pique or other 
material is cut according to a slipper pattern, following the 
directions given on the pattern envelope. The sole and upper 
part of the shoe may be lined with flannel. The outside mate- 
rial and the flannel lining are seamed separately and the seams 
pressed open. They are then basted together with their edges 
even. The upper and lower edges of the shpper are bound 
with a bias seam binding. The upper part and the sole are 
overhanded together on the wrong side and the shoe is 
turned right side out. The ankle straps are then lined with 
cambric. 

Work the buttonhole in the right-hand strap of one slipper 
and in the left-hand strap of the other. Flat bows run through 
tiny buckles, or rosettes of baby ribbon, can be used to trim 
the bootees. 111.127. straight Band 




80 THE NEW DRESSMAKER 

BLANKETS, AFGHANS, ETC.— The blanket should be 4.5 inches long and the width 
of the material. The handsomest blankets are made of double-faced eider-down, the 
edges bound with wide satin ribbon with the sewing line covered with French knots or 
feather-stitching. Blankets and afghans are always white, pink or blue, or white with 
pink or blue, or pink and blue together. The knitted afghans are made of wool. Two 
thicknesses of Shetland wool in pink or blue, or white with pink or blue, put together with 
a satin ribbon binding makes a dainty afghan for Summer. There are always new and 
charming ideas in afghans and the best ones with directions for making them will be found 
in Needle- Art. A very nice blanket can be made with two thicknesses of cheese-cloth 
with one thickness of cotton wadding between them. The edges are bound together with 
ribbon or scalloping and the three thicknesses are caught together with satin bows or 
knots of baby ribbon. 

The baby will need little jackets, wTappers, sacks and bootees. You will find an excel- 
lent collection of them in the Butteriek catalogue and publications and very exquisite 
French designs for embroideiing them are given in Needle-Art. These things, however, 
should be left toward the last, for you are very apt to receive them as presents. They 
make interesting work for the last few weeks when you are more or less confined to the 
house and do not feel like doing other things. 



CHAPTER 16 



5LWING 5TITCHLS 



Knots — Bastings — Lven Bastings — Uneven Bastings — Combination Bastings — Diagonal Bast- 
ings — Running 5titcti — Backstitch — The Half Backstitch — The Combination Stitch — Overcast- 
ing— Overhanding — Catch-Stitch— Slant Hemming Stitch — Straight Hemming Stitch — Blind 
Hem ming — Slip Stitch — Loose French Tacks — Tailors' Tacks 



TO MAKL A KNOT, hold the threaded needle in the right hand. Take the end of 
the thi-ead between the thumb and first finger of the left hand, stretching the 
thread tightly. Wind it around the top of the first fingei-, crossing it over the end 
held between the finger and thumb. Roll the first finger down the ball of the 
thumb about half an inch, carrying tiie thread with it, and with the second finger pusli 

the Icnot tlius formed to the end of the 
thread. If a larger knot is reqiiiied, 
wind the thread around the finger twice. 






^ 



in 128. Even Bastings 




r?i 



111. 129. Uneven Bastings 




130. Combination Bastings 



''^ 




111. 131. Diagonal Bastings 



81 



BASTINGS are temporary stitches 
used to hold two or more pieces of ma- 
terial together while putting in the per- 
manent stitches. The tliread should be 
smooth and rather fine. Careful bast- 
ing is essential to successful sewing 
and dressmaking. There are four kinds 
of bastings. 

EVEN BASTINGS start with a knot 
on the right side so that they may be 
easily removed. Pass the needle over 
and through the material, making the 
stitches and spaces the same length. 
To fasten the thread, take two stitches 
over the last one made. (111. 128.) 

UNEVEN BASTINGS are made by 
the method just described for even 
bastings, except that the stitches and 
spaces are of unequal length. The 
stitches taken upon the needle are 
about a third shorter than the space 
covered by the thi-ead. (II!. 129.) 

COMBINATION BASTINGS are used 

on seams where e.xtra firmness is de- 
sired for close fitting. They are 
made by taking alternately, one long 
stitch and two short stitches. (111. 130.) 

DIAGONAL BASTINGS are slant- 
ing stitches used in dressmaking and 
tailoring to secure the outside material 
to its Uning, particularly where the lining 



82 



THE NLW DRLS5MAKLR 



is eased on to the material, as is often the ease. The method is shown in Illustra- 
tion 131.) 

RUNNING 5TITCHL5 are shorter than bastings. The spaces and stitches are of 

equal length. They are used on 
seams that do not require the firm- 
ness of machine or backstitching. 
(111. 132.) 

THL BACKSTITCH is made by 
taking up a short stitch back on the 
upixT side and a longer one forward 
on the under side of the material, 
bringing the needle out a space in 
advance. Insert the needle to meet 
the last stitch, passing it under the 
material and out again a space in 
advance of the last stitch taken, 
(ni. 133.) Fasten by making two 
or tlu'ee stitches over the one last 
made. The backstitch is used on 
seams requiring strength and firm- 
ness. 

THE. HALF-BACKSTITCH is made 




III. 134. Half-Backstitch 



BS^ 



III. 135. Combinalion Slitch 




\ \ \ \ \ V V | 



in the same . manner as the back- 
stitch, except that it is taken half- 
way back instead of all the way, 
leaving a small space between each 
stitch on the upper side. (111. 134.) 

THE COMBINATION STITCH con- 
sists of one backstitch and two or 
more small running stitches. It is 
fastened like tlu^ backstitch. Illustra- 
tion 135 shows a combination stitch 
with one backstitch and two run- 
ning stitches. It is used on seams 
requiring less strength than the back- 
stitch. 

OVERCASTING is a slanting stitch 
used to keep raw edges from ravel- 
ing. (111. 136.) In taking the stitch 
the needle should always point to- 
ward the left shoidtler. Hold the 
material loosely in tlie left hand. 

Do not use a knot, but turn tho 
end of the thread to the left and take 
the first two stitches over it. Make 
tho stitches about one-eighth of an 
inch apart and one-eighth of an inc-h 
deep. 

Keep the spaces between the 
stitches even and slant all the stitches 
in tho .same direction. Before over- '"■ '^^^ OverhandinS 

casting, be sure that the edges are trimmed off e\'ouly. In overcasting a bias seam, begin 
at the broad part of the piece and work toward the narrow part, to prevent its raveUng 
while vou are working on it. 



III. 136. OvercastinS 




5LWING STITCHES 



83 




139 



Catch-Stitch on Open 
Seam 



OVE.RHANDING, top, or oversewing, 
as it is sometimes called, is used to join 
folded edges ov selvedges. (111. 137.) Baste 
the pieces \vitli the folds or selvedges ex- 
actly even and sew with close stitches over 
and over the edges, taking up as few threads 
as possible, so that when finished the seam 
will be smooth and flat and not form an 
awkward ridge or cord on the wrong side of 
the garment. 

CATCH -STITCH, sometimes called cal- 
slilch, is a cross-stitch used to hold down 
seam edges. It is the preferred finish for 
the seams of flannel garments, for it does 
away with the clumsiness of a French or 
felled seam, takes the place of overcasting 
and prevents raveling. 

Place the edges together and run a seam, 
taking an occasional backstitch. Trim off 
one edge close to the line of sewing and 
pi-ess the other edge flatly over it, holding 
the work as shown in Illustration 138. 

Make a knot and insert the needle under 
the edge at the lower left corner, cross the 
edge and take a small stitch a few threads 
to the right. Cross back again and in.sert 
the needle, taking a similar stitch tlirough 
all the thicknesses of the material. 

Always point the needle to the left and 
make the cross-stitches encase the raw 
edges. The stitch is done from left to 
right. If prefeiTed, these seams may be 
pressed open and catch-stitched, working 
the stitches over the raw edge at each side 
of the seam, thus holding both down as 
shown in Illustration 139. 

A qi.ucker method of catch-stitching is 
shown in Illustration 140. This stitch has not the strength of the first method and is 
only used in millinery and in dressmaking where the work is concealed. This style of 
catch-stitching is done from right to left. 

THE SLANT HEMMING STITCH is used to hold in place hems, facings, fells, etc. 

Each stitch slants on both the right and 
wTong side of the material. (111. 141.) 
Place the hem over the forefinger and 
under the middle finger of the left hand 
and hold it down with the thumb. Be- 
gin at the right hand and insert the 
needle through the fold leaving a short 
end of the thread to be caught under 
the stitches. 

Pointing the needle toward the left 
shoulder take a slanting stitch, taking 
up one or two threads of the material 
and the fold of the hem. At the end of the hem fasten the thread by taking two or three 
stitches on top of each other. 

If a new thread is needed start as at the beginning, tucking both the ends of the new 
and old threads under the fold of the hem and secure them with the hemming stitches. 
In hemming train the eye to keep the stitches even and true, take very small, almost 




Catch-Slitcti 

and Millinery 



,x\ 




6Iant Hemming 5titch 



84 



THE NLW DRL55MAKLR 




invisible stitches on the right side and 
stitches of an e\'en length on the wrong 
side. Don't draw the thread tight, or 
leave it loose, and always use a fine needle 
and thread. 

THE STRAIGHT HEMMING STITCH 
is used W'here an edge is to be held 



III. 142. itraisht HemminS 

elose with stitches that should .show 
as little as possible. Start it the 
same way as the slanting hemming 
stitch. 

Insert the needle into the material as 
close to where you brought the thread 
through as possible, bringing the needle 
up in a slanting position under the hem 
and bringing it out through the fold 
of the hem elose to the edge. (111. 142.) 
This is the stitch that is preferred by 
tailors for felling linings in coats, etc., 
for the stitches show less than in the 
slanting stitch. 

BLIND HEMMING is used when an > 
invisible sewing is required to hold 
hems or facings on silk or wool. It is 
done more quickly than slip-stitching 
and is just as invisible on the right side i' 
of the garment. Only take up part of 
the thread in the material anrl insert 
the needle in a fold of the hem using 
a rather long slanting stitch between the 
stitches. (111.14:5.) It is not a strong sewing 




143. Blind Heninii 




144. 5lip-5tilching 



but in manv cases is used on silk and wool. 



SLIP- STITCHING is used when invi.sible sewiuL' 




It out t 



is required for holding hems, facings, 
trimmings, etc. It is not a 
strong sewing, but it is one of 
the most valuable stitches for 
finishing work in silk or wool. 
In this stitch it is necessary to 
take up only part of the thread 
in the material. This is wh,^t 
makes it invisible on the right 
side. The stitches should be 
taken as far apart as will hold 
the edge in place. Let the 
needle slip through the under 
side of the fold of the hem be- 
tween the stit(dies and bring 
rease of the fold. (111. 144.) That is why it is called the slip-stiteh. 




Melhod of Making French Tack 



LOOSE FRENCH TACKS. They are made by taking a small stitch in the garment 
and one in the portion which is to be tacked to the garment, leaNTiig a half-inch or more 
of thread between. Pass the needle back and forth once more, putting it into the same 
place, and then work several loose buttonhole-stitches back over the three strands of the 
silk thread. (111. 14.5.) 



SLWING 5TITCHL5 



85 



TAILORS' TACKS are used in cutting out garments to mark seams, perforations, 
etc. They are used to give a clean exact line for the sewing. When laj-ing out the pat- 
tern on the material cut the pieces, and then with a double thi ead maik all the perforations 
as directed in the pattern instructions. Baste thi'ough both thicknesses of the cloth, 
alternating one long and one short stitch. Leave the long stitches loose enough to 
form a loop under which a finger can be passed. (111. 146.) Then cut every long stitch 
and separate the two pieces, cutting the threads that still hold them together as you go 
along. There will then be enough stitches in each piece to indicate the sewing line plainly 
and both pieces will be marked exactly alike. For waists or coats, or for any curved 
outline, the tack stitches should be quite short. 

In using tailors' tacks for marking long tucks or plaits in skirts, etc., the loose .stitch 
may be an inch and a half long and not left in a loop, its length supplying the necessary 
thi'ead for pulling through between the two pieces of cloth. 




III. Mb. Uiili.rs lacks 



CHAPTER 17 

5LAM5 

French Seam — Turned-in French Seam — Fell French Seam — Flat Fell Seam — Lapped Fell 
Seam — Roll Seam — Plain Seams Pinked — Plain Seams Bound — Joined Seams — Ordinary 
Tailored Seam — Broad Seam — Cord or Tucked Seam — Welt Seam — Double-Stitched Welt 
Seam — Open Welt Seam — Slot Seam — Double-Stitch Slot Seam — Strap Seam — Lapped or 
Imitation Strap Seam — Raw Edge Lapped Seam 



A FRENCH SEAM 
is a double seam 
used to encase raw 
seam edges. Baste the 
two edges evenly together 
on the right side of the 
garment, and sew close 
to the edge. (111. 147.) 
Trim off the ravelings and 
turn the wrong side of the 
garment toward you, creas- 
ing at the seam. Make the 
second sewing a sufficient 
depth to cover the raw 
edges. (111. 147.) This seam 
is used for thin materials 
and for dainty garments 
where it is not desirable 




11.147. French 5eam 




111. 148. Turned-in French Seam 




111. 1 49. Fell French Seam 



to show stitching on the right side. It 
should be used on edges that are easily 
turned. 

A TURNED-IN FRENCH SEAM is used 
when the hues of a garment are such that 
this seam is more practical than the regu- 
lar French seam. It is used on edges that 
are very much curved, and on edges 
that have been basted at the finished 
sewing line and can be finished more 
easily this way. Make the usual plain 
seam on the wTong side of the gar- 
ment. Turn in both edges of the seam 
toward each other, turning each side 
the same amount. (111. 148.) Baste the 
edges together and then stitch them 
or finish them by top-stitching. (Chap- 
ter 16, page 83.) 

A FELL FRENCH SEAM is made with 



86 



5 E. A M 5 



87 




the usual plain seam on the ^vTong side of the garment. The edge that is toward 
you should be trimmed down to } s of an inch width. Turn the other edge toward you H 
of an inch and bring it to the seam line. (111. 149.) Finish it vi-ith. a hemming stitch, 
Illustration 149, or bj' machine, or with small 
running stitches. 

A FLAT FLLL OR 5TITCHLD 5E.AM has one 
edge hemmed down covering the other raw 
edge. It is used principally for wash garments 
such as muslin underwear made in medium- 
weight materials, for flannels, tailored waists 
and working aprons. 

Baste the seam edges together on the 

III. 1 50. Flat Fell or Flat Slitched Seam 

\\Tong side of the garment and sew the 
seam ■with combination stitch. If the 
edges are bias, sew from the broad 
part of the piece to the narrow part to 
prevent the material from raveling 
and stretching. 

Remove the bastings and trim the 
edge toward you close to the sewing 
line. (lU. 150.) Tm-n the other edge 
flatly over it, pressing hard with the 
thumb naU. Make a narrow turn, 
baste and hem. (111. 1.50.) This seam 
can be stitched by machine if preferred. 

A LAPPED FLLL OR 5TITCHLD 

SLAM is used on flannels, tailored waists 
or where there is no right or wTong side. 
Lap one edge of the seam over the other 
■with the seam lines exactly over each 
other and baste through the seam lines. 
Trim off the ravelings from the edges 

(111. 1.51.) The edge on each side may be 

(111. 1,51.) 




152. Rolled Seam 



and turn the edges under so that they meet, 
sewed ^ith a hemming stitch or by machine. 



A ROLLLD SLAM is used in sheer materials where an unusually narrow joining is required, 
and the material is likelj- to ravel or fray. Hold the seam edges together and trim off all 
the ravelings. Begin at the right end and roll the edges tightly between the thumb and 
forefinger of the left hand keeping the edges rolled for about 1 } 2 inch ahead of the sew- 
ing. Whip the roll very close together making the stitches come under the roll and not 
through it. Draw the thread tight. (111. 152.) This seam will form a small roll. 



TAILORED 5EAM5 

IN TAILORED garments keep the cloth smooth at the seams 
and make the stitching as even as possible and press carefully. 

PLAIN SLAMS PiNKLD — In plain seams of very closely 
woven material that does not fray or ravel, the edges of the seams 
may be simply notched or pinked, and pressed open. (111. 153.) 

PLAIN SLAMS BOUND— Plain seams of jackets, cloaks and 
other garments made of heavy material that will fray should be 
bound with satin, silk or farmers' satin. This is cut in bias 



m 



111.153. Edge of Plain 
Seam Pinked ' 



THE. NEW DRLSSMAKE.R 



strips just a trifle wider than the depth of the seam after it is 
closed. Stitch the binding on the right side of the seam edge 
close to the edge, then baste it flat, covering the edge. Close 
the seam of the garment with bastings catching through both 
eloth and bindings. Then stitch. 

A better way, requiring more labor, however, is to stitch the 
seam and press it open. After pressing, the seam will have 
spread at the edges, especially if it is curved, and the binding can 
be safely applied without any chance of ])ulling later. 

Use a seam binding wide enough to cover the edge nicely. 
Fold the binding through the center and press it with a warm 
iron. Shp the binding over the edge of the seam with tlie binding a little easy so that 
there is no danger of drawing the edge. Sew the binding on with a running stitch or 
stitch it by machine, catching the edge of the binding on both sides of the seam edge, 
an. 1.54.) 




154. binding Seam 
Ldges 



WHLN TRIMMING is to be applied over seams, the plain seam is used, 
be finished fomiiletely and pressed before the trimming is added. 



It should 




.__ ) 

111. 155. Stitcliins on One 
Side of Seam 



■ li. Slilthint; on Bulh 
Sides of Seam 



the garment from pulling at such 
points. 



JOINED SLAMS of garments 
in which the lining is cut hke 
the outer pattern and stitched 
together, are finished b.\- turn- 
ing in the raw edges of the 
.seams of both cloth and lin- 
ing toward each other and 
closing the edge with over- 
hand or running stitches. 
Where the seam is curved, 
the edges must be notched 
every now and then to prevent 



(, 



■L 



AN ORDINARY TAILORED SEAM, 
which makes a good, neat finish is 
the plain seam pressed with both 
edges turned to one side, and a row 
of machine stitching run in neatl.v 
along the one side of the seam from 
the right side of the garment as 
shown in Illustration 1.55. Or, if 
prefeiTed, a row of stitching may be 
apphed to each side of the seam (III. 1.5(i.) In 
the latter case, however, the seam should be 
pressed open before running in the stitching. 

A BROAD SEAM is a plain, wide seam with 
four row-s of ornamental stitching. (lU. 157.) 
This seam is mostly used on tailored garments 

of heavy materials. 

A CORD OR TUCK SEAM is a plain seam 
with both edges turned to one side, and a row of 
stitching run about one-fourth of an inch from 
the seam, through the three thicknesses of the 
goods. This creates a raised or cord-like 
effect. (111. 158.) The undesirable thickness 
on the under side may be cut away at the in- 
ner edge as close to the stitching as possible. 




157. Broad Seam Stitcfi 




111. 158. Cord or Tuck Seam 



SEAMS 



89 





111.159. Well Seam 



111.160. Double-Stilched Well 




111.161. Open Welt 



III. 162. Reverse .'iide of Slot Seam 



k^ 



111. 163. Double-51 



itched Slot Seam 



A WE-LT SLAM is niaile by first stitching 
;i pUiiii seam with the one edge of the matefial 
left \ery narrow. Then turn back the fold 
and Ijaste down elose along tho narrower 
seam edge. Stiteh parallel] to the line of 
bastings, k(H^ping the seam flat. Illustration 
1.5i) shows this seam with the maehino-stitches 
ripped out at the toj) to expose the narrow 
seam edge underneath. 

A DOUBLE. - STITCHLD WLLT SLAM 
has an additional row of stitching set in ono- 
fotn-th ineh or less from the edge. (111. 100.) 

AN OPLN WLLT SLAM is first basted 
as for a i)lain seam. The tuck is then basted 
down flat, with the stitches directly over the 
line of bastings in the seam. With one row of 
machine-stitching tho tuck-like fold and the 
seam are made secure. (111. Kil.) 

A SLOT SLAM is made by basting the seam 
as for a plain seam. The basting stitches 
shotdd be short enough to keej) th(^ seam firm 
while it is being press(Hl opi^n. Then baste an 
iinderstrip of the material a trifle narrower 
than th(^ <tond)ined width of the seam edges, 
dirccfly under th(^ bast(!d seam. (111. 102.) 
From I he riglit side, stitch th(^ desired width (jn 
each side of the (ientcr. lieinov(\ tho bastings. 
Th(^ turned edges, now free, give tin* slot ap- 
pearance, \vh(>nce the name. (111. 103.) 

A DOUBLL- STITCHLD SLOT SLAM is 
proiliK'ed by stitching another row each sidoof 
I he center, close to the lurncd eiiges. (111. 10,3.) 

STRAP SLAMS are jjlain seams ov(t which 
straps of the material are stitclud fo'" orna- 
mental i)urposes. The strips for these straps 
may be cut lengthwi.se of plain material from 
pieces that are left after cutting out the gar- 
ment, hut experience has taught t hat when silk 



90 



THE NCW DRESSMAKER 




II, Mil. .Sli(il) ."l.-.-iil 




105. I •■1M»» 'I "' liiiitiitioii .Slt.ii>iK'<l .Stwim 



is iiHud it is b('t-t(ir to out them on Iho 
I lias, and wluwi tliu nialiM'ial is clotli 
I he Ix'ltcr nisiilt will Uv <)l)tjuMc(l if tlii' 
slTai)s ari( cut orosswisn or bias of I lie 
(jfonds. 

l''(>r a (iiiislicd s(ra|i llial is (ive- 
cinlillis ol' all inch wide, llic strips uro 
cut (iiK^ and ()iu<-rourth inclic.s witU^. 
Join the two raw cd^cs with loose ovor- 
haiid stitches as shown in Illustration 
l;!7, pane H'2\ sfireail out tlu^ strap with 
I he line of joiiiiiit; directly on the center, 
and pri'ss. 

When inakiiig strap seams it is dosir- 
alile to graduate the thicknoss at tho 
seam as much as possible. For this 
ruason, cut the seams either wide enouRh 
so (lu^ edKes on the underside will 
extend beyond the edfjes of the sirap, or 
cu( I hem narrower so llie ed^es of the 
si rap will extend beyond the seam (hIjjc^s. 

Maste the straps carel'iilly over the 
seams, with a line of bastinns run along 
each ed(,'e. (111. Ki-l.) When it is neces- 
sary to piece the stra|)s for loiiK seams, 
avoid having (he joining seam in a 
promiiienl place on (heniirmenl. 

A I Al'Pl D OK IMIIATION .STRAP 
.Sr.AM is the most i)racli<'a.l linish for 
iinline<l garments. The edn;es at the 
seams are lapped and Ihe raw eddes 
I iinied ill wil li a row of stitches linishitiK 
it aliUi« on Ihe rit;lil and wronn sides. 
(111. Hi.-).) 




A RAW-I.IX.1. lAI'Pl.D SEAM is 
iis<'d in lnakill^r Kiirments of heavy, 
clo.sely woven material that will not 
fray or ruvel. The seam eilKes must be 
cut very accurately and smoothly. 
Miisle the ed^es evenly, lapping them the 
full allowance, iind stitch as near the 
edjte of the upper lap as jiossible. A 
second row of slitchinj; live-eiji;hthsof an 
inch from the lirsl t;ives it a neat and 
tailored linish. T'he seam on th<' under 
siile should be trimmed olT eveiilv. 
(111. Kill.) 

One should be very careful in decidiiiK 
on the style of seam us("(l on a tailored 
garment. T'weeds, homespuns, friezes, 
and all other rather loo.sely woven 
woolen materials shouUI b(» linishi'd 
with biiund .seams. In linens, iioiifjees 
niid crashes one should use llu^ cord, bound or lapped seam. Mroadelntli, meltons, 
kerseys, <'overt, and oIluT liea\y ilrivinj; cloths can be pinked, as they are so closely 
woviMi that they will iiol raAcl. T'o have a nood tailorecl look the machiiie- 
.slilchinKs (Ui any .seam must not be too lin(>. The thread and needle should be of 
medium thiekiu'ss and the stitch should correspond in size. 



Kaw-t »me I ,i|>petl >!■ 



CHAPTER 18 
HLMS 

Hems— Napery or Daiiiiisk llciii I h'ikIi Mom 5<|uaro Corners- 
Mitered Corners^Circiilar Hem— Plain Hem 



Alir.M is a liiiisli I'oi- lln' ('(lj;('s of jriii'inciils, 
liiuiscliold linens, ('(<•. It is iwtuU' l>y liirn- 
iny: (lio odfro III" tlit> iniUcriiil over Iwicc. 
(HI. 1(>7.) Tho first turnini; slioiiUI he njuniM 
and iniisl of pourso bo porfcclly oven. Tlif (li|iili 
of tlio second liirnini; depends on where llie liem 
is used and the elTect you wunt (o K've. Mark 
the depth of tlie second turniiiK on the niale- 
rial with pins, usint; as a marker a card notched 
tlio desired depth of the hem. Fold the nnitcrial 
on tlie line witli the pins and if tlie hem is widi 
baste it at both llie top and bottom. 




11)7. 1 1. -Ml 



A NAPIU<Y OR DAMASK HI-,M is used on napkins and lable-clolhs. 'I'nrn under 
the ed(;e of the inali'rial twice t'or.a narrow hern, h'oid the hem back on the rinhl siile, 
crease the nuilerial alotifj the lirst fold, and o\erliaiid the fold and crease t()K<'thcr. 'I'lie 
needle is inserted slraijilit, as shown in Illustration KIS. Openarid llalli'U s(it<'hes wil li Ihe 

thumb-nail. If a sqnar(> is used, turn 
the opposite side in th(> same manner. 
Hem the sides before foldinpf back on 
Ihe rinlit side. No baslint; is needed 
for this hem. Take small stitches so 
that the work will look well when the 
hem is lurtied down. Directions for 
hernslitchinK will be found on pane 12(1. 




SQUARFl CORNP.RS are used in 
heminint; s(iiuires or nbloiiKs. Turn 



lit lofS. Ncipcrv "I Udiimsk Ucin 



under tho hem on one ed(,'e and then ttUTi under the hern 
on the i^dKi" at ritrhl ariKles with the (irst. ( "rease lire 
line where the fold of the second lunn crosses the (irsi 
hem. Open both hems and cut away the lirst hem tn 
within a seam's width of the crease and the fold of 1 In 
lerrr. (III. Kii).) Turn under Ihe hems afrain and hern 
10 overlappiiifT edires of the s(icond hem to Ihe under side 

^ tile firsl lw>rn f\i] 17(1^ l\iil tttii ( )■ i,.,!,.,,!. 4.. i 1... „:..r.i 



thi 



of the first hem (111. 17(1) but not throu^rli to the rif;! 
side. Finish all sipnii'e corners in (his way. 

MITP.RllD CORNI-.RS ai-<' made by joitriiiK (wo biaspd(;cs 
to form an aiitrl(>. Turn the edtjes as for hems, and crease. 
Open the material, fold the corner toward the center, and 
crease where the lines cross. Cut the eoi-ner olT, allowing 

01 



ill. Il>9. 



I olilin^ (or Squore 
Corners 



92 



THE NEW DRESSMAKER 




Hemming Square 
Corners 




a narrow turning (lU. 171). Fold the hems down 
all around, bring the mitered corners together, 
and hem the side (111. 172). Hem the forners, 
but do not eateh the stitches through the mate- 
rial underneath. 

FRENCH HEM The seams must be stitched 
to within twice the depth of the finished hem, 
as shown in Illustration 17:?. (^lip the seam at 




lU. 172. 



Hemming Mitered 
Corners 



III. 171. FoldinS for Mitered Corners 

this point to the stitching, turn the lower edges 
toward the right side and stitch the remainder 
of the si^am. Press open, turn the hem to the 
right side, baste and feather-stitch (111. 174), or 
finish in any desirable way. 





III. 1/3. Reversing 5eam for 
French Hem 



HLMS 



93 



A CIRCULAR HE.M is often used on a skirt or garment that is not straight at the 

lower edge. 

If the material is soft in texture, the top of the hem is simply tm-ned under and 

a gathering-thread run in close to the turning. (111. 175.) Draw the gathering-thread 

till the top of the hem is the same size as the part to which it is to be sewed. 

(111. 175.) Blind-stitch it or machine-stitch it to the garment. 

If the material of the garment is of heavy weight the upper edge should be gath- 
ered without turning it under (111. 176) 
and the raw edge should be co\ered 
with a strip of seam-binding. (111. 176.) 
The lower edge of this seam-binding 
should be sewed to the hem but not to 
the garment. 

Before sewing the top of the hem in 
place slip a piece of muslin cut the shape 
of the bottom of the garment under the 
hem and press the hem flat, shrinking 
out as much of the fulness as possible. 
The piece of mushn will prevent the ful- 
ness in the hem from making marks on the 




A Circular Hem with the Ld$e 
Turned Under 



garment during the pressing. The piece of muslin 
need not be the full width or size of the gar- 
ment or hem. It can be a comparatively short 
piece and can be moved as the pressing is done. 
After the hem has been pressed in this manner, 
hem the upper edge of the seam binding to the 
garment with invisible stitches. 

A HLM FOR A SLIGHTLY GORED OR 
STRAIGHT SKIRT. The hem edge is turned 
under in the usual way. If an invisible sewing 
is desired, the turned-under edge of the hem is 
stitched close to the turning and then blind-stitched neatly and carefully to the garment. 




Covering the Raw tdge of a Circular 
Hem with 5eam-Binding 



CHAPTER 19 



FACINGS 



False Hem or Facing — Straight Facing — Bias Facing — Shaped Facing — Sewed-On Facing — 

Applied Facing — Lxtension Facing — 5ewed-On E.xtension Facing — Applied Lxtension 

Facing^Corded Facing — Piped Facing 



A FALSE. HLM OR FACING is often preferred for the finish of an edge. A gar- 
ment can sometimes be cut from less material by using a facing, for a hem re- 
quires extra length or width while a facing can often be cut from pieces which 
would not otherwise be used. 

A hem is better than a facing for thin materials as the joining seam of the facing wouldl 
show in transparent ma- 
terials and would not be 
pretty. 

A STRAIGHT FACING 
is used if the edge to 
be faced is a perfectly 
straight line, no matter 
whetiier the thread or 
grain of the goods is 
straight or bias. The 
facing may be cut 

lengthwiseorcroSSwi.se ^i,^*^ III. 177. StrelchinS a Bias Facing 

of the material. ^'^ to Fit a Curve 

A BIAS FACING is used if the edge to be faced is 
curved, for the bias facing can be stretched to fit the 
shape of the edge. To stretch the facing press it, 
stretching it at the outer edge as you do so. (lU. 177.) 

A SHAPED FACING is cut the same shape and on the 
same grain of the material as the part to be faced. 

(111. 178.) 





111. 1 78. A Shaped FacinS 



It is used on all edges which 
are not in a straight line but 
which are curved or irregular. 

FACINGS may be sewed to 
an edge and then turned, or 
the edge may be turned first 
and the facing applied. 



^■■<\ 



THE SF-WED-ON FACINC 
The facing strips are pieced 
together and the seams pressed 
open. Baste and stitch the 
facing to the edge with the 




1 *.^n I ciciii^;; 



FACINGS 



95 



right sides together. Turn the facing over 
to the wrong side and baste it down flat 
along the edge, drawing the seam about ,'s 
of an inch from the fold. (111. 179.) Baste 
again along the inntr edge of the facing 
turning in a narrow seam, or cover the 
edge with seam-binding. 

THL APPLIED FACING. Turn under 
one or both edges of the facing, basto and 
press. Turn under the edge of the garment 
and baste it. (111. 180.) If the edge draws, clip 
it to make it lie flat. Baste the edge of the 
facing about Yi an inch from the edge of 
the garment; then baste along the inner 
edge of the facing. (lU. ISO.) 




111.180. An Applied facing 



AN E.XTE.N5ION FACING is used on any edge which is a straight line or which is 
nearly a straight line so that the facing can be eased enough to make it lie flat, but not 
so much that the easing will show after pressing. 



-T^K^V^--^ 



-i 




111. ittl. A 5ewed-On L.xtension hdciny 



HI. 1S2. All .Applied L.\teiisiun Icjciny 



THE. 5LWED-ON EXTENSION FACING. Cut a facing twice the width the facing 
should be when finished, plus a seam allowance on each edge. Baste and stitch the facing 
to the edge with right sides together. Turn under the loose edge of facing and baste it 

to wTong side of the garment, covering the seam. (III. 181.) 

THE APPLIED EXTENSION FACING. Turn under all 
edges of the facing and baste them. Fold the facing 
through the center and baste it a short distance from the edge 
with the edges even. Slip the edge of the garment between 
the edges of the facing and baste. (III. 182.) The applied 
extension facing should be used when the edge is not perfect- 
ly straight and the facing can not be eased to it. (111. 182.) 

TO APPLY A CORDED FACING. Turn under the edge 
you are going to face as allowed for on the pattern and 
baste it. Baste the facing flat to the inside of the edge with 
just the cording extending beyond the edge. A cord is put 
in a facing the same way it is put in a cord piping. (Page 
130, chapter 26.) 

Baste on the right side so that you can see what 

you are doing. (111. 183.) Shp-stitch the cord in place 

with invisible stitches just under the edge of the garment. 

A Corded Facing (HI- 183.) The free edge of the facing should be turned 




96 THLNLWDRL55MAKE.R 

under a. seam's width and, if necessary, sln^tehed to fit tlio edge of tile sarmont. If an 
invisilil(^ sewing is desired llie turued-under inlge of (lie facing is stittOicd close to tlie 
(urning, mil to the qarmenl. It simply lies Hat against the garment. It does away with 
tlu^ sccoikI sewing of the facing to the garment, a thing that few amateurs can do invisibly. 

TO APPLY A PIPLD FACING. The method of applying a piped facing is exactly 
the same as applying a cord facing. The cord is sim|)ly oniil IimI. 



CHAPTER 20 

TUCKS AND PLAITS 

Tucks — Nun's Tucks— Curved Tucks— Cross Tucking — Laying Plails — Stitciiing Plaits- 
Supporting Inlaid Plaits 



T 



of making all tucks is the same more or less, 



UCK5 should be marked with a lueasiire so that they will be of even width. 

NUN'S TUCKS are wide tueks usually two inehes or more in width. The method 

but the wider the tucks, the gri-eater the 
difficulty in keeping the tucks and the dis- 
lance between them even, especially when 
I he bottom of a skirt is circular. In such a 
case the tucks must be marked and basted 
before the .stitching is done-. 

Cut the gage from a piece of cardboard, 
and from the end measure down the width 
of first tuck, making a slash and a bias cut 
lo meet the sla.sh. (111. 184.) Make a 
second cut as shown in Illustration 184, al- 
lowing for width of space and second tuck. 
It is quicker and more accurate to 
make a gage of this sort in measui'iiig short 
spaces, such as hems, tucks and the sjiaces 
Ix'tween them, than to use the tape luea- 
sure, as sometimes the eye becomes con- 
fused at the small marks on tlie tape, and 
mistakes are made that will prove quite 

,u, , f serious. 

184. lucks 

CURVE-D TUCKS — Curved tueks are sewed on a curved line which makes the under side 
fuller than the upper side. i\Iarkthe edge of tuck with tailors' tacks (page 85) or pins, fold 
material on this mark and 
baste quite close to the edge 
(111. 185.) Mark the depth of 
the tuek from this edge, using a 
gage to keep the tuck an even 
width and baste. In sewing 
the tuck the extra fulness must 
be eased on .the under side of 
the tuck as you sew. Be care- 
ful to distribute this fulness 
evenly so that it does not fall 
in bimches or draw the edge 
of the tuck out of place. 




CROSS TUCKING is an 
effective trimming for waists, 
blouses, dresses, etc. All 




111. 185. Curved Tucks 



97 



98 



THE. NE.W DRLSSMAKb. K 



tucks running in one dii'oetion should 
be made first. The eross tucks 
sliould ho the samo size and should bo 
))l:icod i\w saiiui distance apart as the 
Ih-st tucks, so that when the lucks and 
cross tucks are finished they will form 
poi'foct squari^s. (111. 18G.) Cross 
tucks may 1h> of various sizes, but pin- 
tucks placed about an inch apart 
(measuring from the sewing of one tuck 
to the edge of the n(^x^) are particularly 
dainty. 



PLAITS 

IN LAYING PLAIT.S in a garment 
it is advisable if possilile to lay the jjlaits 
before the scams are joined. 

IN STITCHING PLAITS it is best to 
leave at least one seam of the garment 
open, and if it is a skirt, remo\ e it from 
the belt, for the work can be more 
ea.sily handled under (he macliine if it is 
oi)en and fiat. 

After stitching the |)laits as desired, 
baste and stitch the scam. 

If it is a skirt, put it on the belt, press 
th(> plaits and try the skirt on t,o gi>t the 
correct lenglli. 

A hem is the best finish for the bot- 
tom of a plaited skirt or dress. (Chap- 
ter 18, page 93.) 

Be careful to get the plaits even, with- 
out any draw, espi'cially where the 
edges come bias. 

As each i)lait is llattencHl. it should 
bo basted a little dislnn<'e from the fold 
edge, as shown in Illustration 187. to 
keep it in shape. This will be found a 
great con\enience later in working on 
the garment. 

Wluni a plaited skirt is made of heavy 
material or is lapped very much at the 
waist in fitting, it may be made less 
buiky by cutting away the surplus ma- 
terial after the plaits are stitched. The 
uiul(-r-lapi)ing material is cut away to 
within an inch or so of where the stitch- 
ing finishes. (111.188.) From that point 
it is cut across the top of the plait. 
(111. 1S8.) The raw edges lef ( in t his way 
are bound with a bias strip of lining or 
ribbon seam binding, that will finish 
acro.ss the top of each plait (111. 188,) 
except where the seams that join the 



( 










. -• -'i 


.1 






- 




1 ■' 


- H 
■ 


1 1 


JJ.J„l' 1 



ill. 180. Cross Tucks 




Plails Cut Away on Reverse 5idc of Skirt 



TUCKS AND PLAITS 



99 



breadths form the inner fold of a plait. In 
that case the binding will continue down the 
raw edges of that seam to the bottom of the 
skirt. 

In eases where the plaits are not stitched the 
entire length, the tliread-ends on the under 
side must be securely tied, as shown in Illus- 
tration 189. 

Gored skirts that have a side plait or an in- 
verted box plait let into the seams some dis- 
tance up from the bottom, are sometimes 
troublesome because of a tendency of these 
plaits to sliow below the bottom edge of the 
slurt since there is nothing to which they may 
be attached. This trouble may be avoided 
in the manner shown in Illustration 190. 

The seam edge and the edge of eacli of these 
plaitsare bound, and .after (he sldrt is finished a 
tape or strap of lining is sewed to the top of each i)lait and is carried from one to the other all 
around the skirt. (Ili. 190.) The tape will generally bo found suHicient stay, but in a woolen 
sldi't of heavy cloth an additional tape or strap may run diagonally from tlie top of each 
plait to the ne.xt seam and be securely sewed there to the wrong side of the sldrt. This 
stay also is in Illustration 190. 




1 89 Tying Threads 




Supporting Inlaid Plaits 



CHAPTER 21 

PLACKETS 

For Unlined Dresses — For Cloth Skirts- Placket at Center oi Inverted Plait — At Underfold of 

Plait — At Center of a Habit Back — Under a Strapped Seam — For a Skirt Set in Same 

Belt with Foundation Skirt — Underwear Plackets — Featlier- 

Stitched Hem on Plackets 



PLACKETS SUCH AS ARE MADE FOR UNLINED DRESSES are shown in Illustra- 
tions 191 and 192. This plaeket is used on skirts of unlined dresses when the outside 
sewing would be an objection; also on dresses that have to visit the laundry. Use 
a strip twice the length of the opening and three and three-quarter inches wide. 

Lay the lap along the edge of the opening with the right side of the lap and skirt to- 
gether and baste them in a naiTOW seam. (111. 191.) Run it almost to a point at the 
lower end of the opening. Turn the free edge under and hem it close to the 
sewing. (lU. 191.) When this strip or lap is applied al)0\'e the liack seam of a 
skirt, it is set back 
an eighth of an inch 
from the stitching of 
the seam. One side 
is extended out to 
form the underlap, 
and the other side is 
turned under on an 
even line with the 
stitching of the seam. 
When the placket is 
closed, the entire lap 
is hidden. (111. 192.) 
In transparent fab- 
rics such as chiffon, 
etc., which are not 
sent to the laundry, 
the skirt placket 
should be made as in- 
conspicuous as pos- 
sible. Don't face the 

placket edges as the 111.191. inside View oi eon- ill. 1 92. 

seams would show. 
Turn a hem and over- 
cast the loose edges finely to show as little as possilile. These materials as a rule are 
made in soft styles where there is no strain on th.e placket edges. Patent fasteners can 
be used for the closing, as few of them and as small as will hold the placket. (Chapter 24, 
page 116.) Use no other sewing on the placket other than the sewing for the fasteners. 

THE PLACKETS FOR CLOTH SKIRTS require neat and tailor -hke workmanship. 
Great care must be taken in handling the edges of the opening. They are generally bias, 
and stretch easily. If the upper edge becomes stretched, it will bulge when the skirt is 
on the figure — a defect you probably have often noticed on other women. Hooks and 
eyes or patent fasteners (page 116) should be placed sufficiently close together to prevent the 
skirt from gaping. Any stitching that shows through on the outside should be 

100 




191. Inside View ot (con- 
tinuous Lap Placket 



Outside View of Continuous- 
Lap Placket 



PLACKETS 



101 




III. 193. Simple Placket Where 
There Is No Strain 



clone evenly and with a suitable stitch and tension. 
Otlionvise the plaeket-hole will have a careless 
ajipearance. A placket-hole should V)e ten or eleven 
inches deep unless the figure is unusually large [and 
full, requiring a still deeper opening. 

The design of the skirt regulates the position and 
finish of the placket. It may be at the center or 
side back, the front or side front. 

Illustration 193 shows a simple finish for a placket 
which may be used for a skirt that has fulness at the 
top so that no strain comes on the placket-hole. The 
overlapping edge is finished with a facing and the 
under edge with an underlap. The facing can be 
machine-stitched or finished invisibly by hand ac- 
cording to the finish of the skirt. Snap fasteners 
(Chapter 24, page 116) may be used for the closing 
since there is no strain. The fasteners should be 
placed about two inches apart. 





\ i 




I'M |1,Kk.l 



^^ 



it.dPlail 111.195. Finish of Placket in III. 1 94 



A PLACKLT-HOLL AT THL CE.N- 
TLR OF AN INVLRTLD PLAIT is 
shown in Illustration 194. The placket 
comes under an inverted plait at the 
center back of the skirt which fits plainly 
at the top. 

The first step in finishing the placket 
of a skirt of this kind is to turn the skirt 
edges back as allowed by the patt(>rn. 

Stitch the edges of the placket-hole 
and sew on the hooks and eyes as il- 
lustrated, taking care that the stitches 
don't show through on the outside of 
the skirt. Cover the hooks on the right 
side with a facing of silk. Sew an under- 
lap of material an inch and a half wide, 
finished, to the left edge, and bind the 
raw edge of the lap with binding riljbou. 
Ull. 195.) 




III. 1 95. Placket ShowinS Hooks and Eyes 



102 



THL NE.W DRL55MAKLR 



A PLACKLT-HOLL AT THE UNDER FOLD OF A PLAIT is often used. Cut 
tlirough the crease or under fold in the plait to the regular placket depth. Bind both cut 
edges of the plait -nath binding ribbon or a binding of thin silk. This method allows 
the plait to serve as a placket underlap. 
The outer fold of the plait may be stitched 
(111. 196), leaving the under portion of the 
plait free. Illustration 196 shows the posi- 
tion of the hooks and eyes or the patent 
fasteners on the under fold of the plait. 

If the plait is in a skirt that fits at the 
top so that there is likely to be a strain on 
the placket, hooks and ^'es are the strong- 
est fastenings. But if it is a plaited skirt 
where the plaits fall free and there is no 
strain on the placket, snap fasteners may 
be used. 

THE PLACKET-HOLE AT THE CEN- 
TER OF A HABIT BACK is practically the 
same as for the skirt with an inverted plait 
closed at the center-back seam. (111. 197.) 




A PLACKET-HOLE UNDER A 
STRAPPED SEAM is show^n in Illustra- 
tion 198. The right-hand fold of the strap 
is stitched flat to the skirt. The left-hand 
edge of the strap is turned under and 
stitched to itself, following the same line of 
stitching that holds the rest of the strap to 
the skirt. (111. 198.) 

The hooks are sewed to the left edge of 
the strap. Notice that they are set close 
together and a trifle back from the edge. A 
strap placket must be held firmly to keep 
the line of trimming absolutely straight. 
For the same reason it is just as well to 
add a row of patent fasteners just back of 
the hooks. (111. 198.) 



1 97. Finished Plackel on Habit- 
Back Skirl 




III. 1 ys. 



inisii of Strapped Seam 




111 1 yj. Reverse Side ol 
Underlap 



The underlap should be an inch and a half wide 
and an inch longer than the placket-hole, finished. 
(111. 199.) It should be made of the skirt material 
and its edges bound with seam binding or silk. 
Blind loops are used instead of eyes and should be 
worked on the sku't in corresponding positions to 
the eyes. The fasteners are sewed to the lap. 

THE PLACKET-HOLE IN A SKIRT SET IN 
THE SAME BELT with its foundation skirt is made 
by the same methods as an ordinary placket. In such 
an instance, the placket opening of the skirt and 
foundation skirt are finished separately. 

Whatiiver kind of placket is used, one should be 
particularly careful to see that the hooks and eyes 
or fasteners are so arranged that they will keep 
the holes seciu-ely closed. Nothing looks worse 
than a gaping placket, and any woman who takes a 
pride in her personal appearance will pay special 
attention to this part of her dressmaking. 



PLACKLTS 



103 




111.20 1. L n.i. il.ii' on>l l,„;ir, ^lilchedtO 
Plackel Slit in Skirl 



UNDLRWLAR PLACKETS 

TJNDLRWEAR PLACKLT5 are made in 
the foUowinK manner. If there is no 
seam, cut the opening in the garment tlie 
desired length. It should be long enough 
to slip easily over the head. Cut for a lap 
a strip of material lengthwise of the goods. 
It should be twice the length of the placket 
opening and three and three-quarter inches 
wide. Fold the ends together and crease 
through center; open and fold the sides 
together and crease. Cut out one section 
to within a small seam of the crease as 
shown in Illustration 200. 

Baste the long straight edge of the lap to 
both edges of the opening, making a naiTow 
seam. Run it almost to a point at the 
lower edge of the opening. (111.201.) Make 
a narrow turning on the three edges of both 
the narrow and the wide part of the lap. 
Double the wide part back (111. 202), baste 
the edge over the hne of the sewing, and 
liem. This forms the underlap. Turn the 
narrow part back on the hne of sewing, 
baste the free edge to the garment to form 
an underfacing, and hem. The end of the 
underlap is turned under, basted and 
stitched across. The finished closing is 
shown in Illustration 203. This placket has 
an outside row of stitching. It is usually 
employed for drawers, petticoats, etc. 



III. 200. Underlap and Facing 
Strip for Placket 







/ 



111. 204. Feather-slilched Hem 
at Placket 



A FEATHE.R-5TITCHED HLM ON A PLACKET used on flannel petticoats is shown 
in Illustration 204. 



CHAPTER 22 

POCKLT5 

Patch Pockets — Slash Pocket — Pocket with a Straight Opening — Pocket with an 
In-and-Out Lap — Pocket with a Welt — Bound Pocket Opening 



y y / ^ ^ / 



■^\ 



/ 



\ \ \ \ \ 




U. 2 05 . Facing o( (he Slash Pocket 



Pushing Facing Through 
to Wrong 5ide 



The upper edge that 



THE various styles 
of pockets used on 
tailored garments 
and boys' suits which 
require some technical 
knowledge will be treated 
in this chapter. 

A PATCH POCKET 

is simply a patch sewed 

on tliree of its sides to : j | | | | | m. 2U6. 

the outside of the gar- | ,. ■ | I I I 

ment. Patch pockets 

vary in size and shape 

according to the style of the garinent and the position th"y occupy 

is left open may lie simply hemmed or faced, or trimmed in any way that the character of 

the garment may suggest. All other edges of the pocket are turned under, basted and 

stitched to the garment. In all cases the essential feature of a patch pocket is neatness. 

A SLASH POCKLT (111. 210) is one that is made on the inside of the garment and 
has a slit opening through to the outside. Mark the line for the opening with tailors' 
tacks (page 85). Run a line of bastings in colored thread through the perforations to 
mark the line still more sharpl.v, letting the bastings show on both sides of the material. 
Cut a piece of the suit material for a facing. It should be about three inches wide and 
an inch longer than the pocket opening. Baste it face down to the right side of the 

garment so that its 
center comes exactly 
over the pocket open- 
ing and the facing it- 
self extends half an 
inch beyond each end 
of the opening. (111. 
20.5.) From the wrong 
side of the garment 
run another row of 
colored bastings along 
the line for the pocket 
opening so that the 
second row will show 
t hrough on the pocket 
facing. 

From the right side 
place a row of ma- 
chine stitching on 
each side of the 




Ml. 207. Pocket Slipped Under 
the Facing 



ill. 208. Pocket I utned Up and 
Stitched 
104 



POCKETS 



105 





ni. 209. Inside View of a Slash Pocket 



.210. Outside View of a Slasti Pocket 



pooket line and about an eighth of an inch from it. (111. 205.) Tie the ends of the 
threads firmly so that the stitching can not pull out, and then cut through the pocket line 
with a sharp knife, cutting through both the facing and the garment material. Push the 
facing through the sht. (111. 206.) 

Rebaste the facing from the outside, letting it form a head or cording an eighth of an 
inch deep at the edges of the pocket. . It should be stitched on the upper edge of the 
pocket hole from the right side. Cross-stitch the pocket edges together to hold them in 
shape until the garment is finished. Turn down the upper edge of the pocket facing 
as close to the stitching as possible, and press flat to wrong side of garment. (111. 208.) 
Cut from strong cotton or drill a pocket piece about twelve and a half inches long and 

two inches wider than the pocket opening. 

.•<v.. -.v. ... . v.... . ^ Shape one end of the pocket like the curved 

• ^ RjsSS "^^ ^ . pocket opening and insert it between the 

^ _,_^^^^ lower pocket facing and the garment, close to 

/" ^ the opening. (111. 207.) Baste it in place 

from the wrong side, turn the garment portion 
over to right side, and stitch through both fac- 
ing and pocket close to opening. Turn under 
lower edge of pocket facing and stitch it to 
pocket (111. 207), but not to the garment. 

Now turn up the pocket about four and a 
half inches from the opening and baste it in 
place with its upper edge toward the top of the 
garment. From the right side, stitch through 
the garment and the pocket along the upper 
edge of the pocket opening. Turn under the 
edge of the upper part of the facing and hem 
it to the pocket (111. 208). Do it from the right 
side, pushing the pocket and facing through 
tlie slit. The sides of the pocket are closed 
with a row of machine stitching about three- 
eighths of an inch from the edges. (111. 209.) 
The ends (111. 210) are finished with an arrow- 
head (page 127). 




111. 2 11. tor a Mrflight I'cKki-l i-liH-iii 



A PERFECTLY STRAIGHT OPENING has a 

facing of material applied as directed above. 
(Ills. 205 and 206.) Two pocket pieces are 



106 



THE. NE.W DRE.55MAKLR 




cut of pocketing or drill, the lower four and 
;i half inches long, the upper piece five inches 
Inng. Both pieces should be an inch wider 
I ban the opening. 

The pocket pieces are slipped under the 
lacings, basted and stitched from the right 
side. (111.211.) Strengthen the ends of the 
opening on the right side with a bar tack or 
arrow-head. (Chapter 25, page 127.) 

The raw edges of the facings are turned 
under and stitched to the pocket pieces (111. 
211). The upper pocket piece is then turned 
down over the lower and basted and stitched 
to it around its three open sides. The I'aw 
edges may be bound or overcast. 



111.212. The In-and-Out Loi I ■ k. n I 
a Great Deal for Tailored Oarments 



This pocket is illustrated on the preced- 
ing page. 

IN A POCKLT WITH AN IN-AND-OUT 
LAP the latter is finished completely before 
the pocket is begun. Cut the piece for the 
lap from the cloth, being careful to have the 
grain or stripe of the goods match when the 
lap is laid on the jacket in the position it 
will have when the pocket is completed. 
(111. 212.) Turn in and baste a seam on 
three sides. Run two rows of even stitch- 
ing around the edge from the right side, 
the first row one-eighth of an inch from the 
edge. Then add a hning of silk, slip- 
stitching it on by hand. 

Now lay the finished lap face down on the goods with its raw edge down, and even 
with the "line of bastings that indicate the pocket opening. The rest of the work is 
the same as for the pocket described above. In this case, however, the section of the 
facing strip which is supplemented by the lap is cut away. 

AN OPE-N POCKLT is made similar to tlie one having an in-and-out lap. Tlie lap is 
made straight or on a slant (111. 213), not quite so wide as for a loose lap, and is joined to the 
garment at the lower edge of the sht in an upright position and is attached to it at each side. 




111. 213. In Check. Stripe or Plaid Material the Lines 
in the Lap Should Match the Lines in the Garment 



A BOUND POCKLT OPLNING 
trastiug material 
about 1J4 inch wide 
and 3^ inch longer 
than the pocket open- 
ing. Turn under each 
end of the strip ]4 of 
an inch. (111. 214.) 

Mark the line of 
the pocket through 
the pocket perfora- 
tions with tailors' 
tacks. (Page 85.) 

Place the strip on 
the outside of the 



should be bound with a bias strip of self or con- 




L 



\ 



111. 2 1 4. Ba-stiny On the Bindina 



.215. The Bound Pocket OpeninS 



POCKLTS 



107 



garment with the center of the strip over the line of the 
pocket. (111. 214.) Baste the strip to the garment. 
(111. 214.) Run a basting line through the tailors' 
tacks, and through the center of the strip and stitch 
the strip to the garment J^ of an inch each side of this 
basting line. 

Cut the pocket opening through the garment and 
strip in a clean, even line. Push the binding through 
the .slash to the wrong side of the garment and baste it 
into position letting it form an Vg-of-an-inch binding 
at the edge of the opening. (111. 21.5.) Slip-stitch 
the corners of the binding so they will not fray. 

Cut the pocket sections of satin or lining material 
about seven inches long and let them extend about J 2 an 
inch beyond each end of the opening (111. 216), shaping 
them as illustrated. Face the under section of the 
pocket three inches from tlie top with the material of 
the garment. (111. 216.) Baste the pocket sections to 
the binding on the inside of the garment as illustrated. 




ill. 216. 



The Pocket for the Bound 
Pockethole 




ife::.a/2 




111. 2 1 7. The Well and Inner Section ot the 
Welt Pocket 



.218. The Welt and Outer Section of the 
Welt Pocket 



Sew the pocket sections to the binding by hand, using one of the hemming stitch 
Baste and stitch the pocket sections together to form a pocket and overcast the raw 

A POCKLT WITH A Vv-LLT— Mark the line for the 
opening of the pocket with tailors" tacks. (Chapter 16, 
page 85.) Run a line of basting through the tailors' 
tacks to mark the opening even more clearly, letting the 
basting show through both sides of the material. If the 
pocket is to be cut through more than one thickness of 
material baste around the marking so that the mate- 
rials can not slip when the opening is cut. 

Cut an interlining for the welt ? s of an inch smaller at 
the top and ends than the welt pattern. Turn the 
edges of the welt over on the interlining at the top and 
ends, mitering it neatly at the corners. (111. 217.) 
Baste and stitch it to match the rest of the garment 
and press it carefully. 

The pocket is cut in two sections from lining material. 
The shape of the inner section is shown in Illustration 
III. 219. The Two Pocket Sections ^17. The outer section is cut like the inner but deep 
Stitched and Overcast Together enough to form a lining for the welt. (111. 218.) The 




108 



THE. NE.W DRL55MAKLR 




III. 220. The finished Welt 
Pocket 



J of an inch wider on both sides than 
the opening. A breast pocket should be about 3>2 
inche.s deep, a lower pocket about 5 inches deep. 

Lay the finished welt face down below the pocket lino 
on the right side of the garment (111. 217) with the 
unfinished edge exactly even with the line marked for 
the opening. Baste it in place. Lay the inner section 
of the pocket face down above the pocket line, clo.se up 
to the welt, and ba.ste it in place. (111. 217.) Run a row 
of machine stitching l-i of an inch in from both sides, 
and tie the threads securely. Turn the seam edge of 
the welt back and press it back flat against the welt. 
(111.217.) 

Take the outer or larger section of the pocket and lay it right side up over the inner 
section and welt. (111. 218.) Turn the upper edge under ' s of an inch from the top of the 
welt and trim it out at the ends of the welt so that it is Vs of an inch smaller. (111. 218.) 
Fell the.se edges down. (111. 218.) Sew the satin along the seam edge of the welt and 
again }4 of an inch inside it. (111. 218.) 

Cut the opening with a sharp pen-knife or pointed embroidery scissors following the 
thread line to within '. s of an inch of the ends. Make a cut from that point to the stitch- 
ing line on both sides forming a — ^ . Push both pocket sections through to the 
wrong .side of the garment and turn the welt up in place. Blind sew the ends of the welt 
to the garment at the edge and again H of an inch in. 

Turn the garment to the wrong side and seam up the pocket edges and overcast them. 
(HI. 219.) Pre.ss the seam downward and bar tack (riiapter25, page 127) the ends of the 
opening to prevent their pulling out. Give the pocket a final pressing on the right side. 
The finished welt is shown in Illustration 220. 



CHAPTER 23 

COLLARS, CUFF5 AND BELTS 

Unlined Collars— Lined Collars — Removable Collars — The High Collar — Collars and Cuffs 

for Coats, Suits and Capes — Bottom of Dress Sleeve — Unlined Cuff — 

Lined Cuff— Removable Cuff — Belts — Casings 



TO 5LW ON AN UNLINLD COLLAR 
baste the collar to the neck with the 
under side of the collar against the right 
side of the garment. If the garment is of a 
material that is not transparent, baste a nar- 
row bias strip of material along the edge of the 
collar with the edges even. Stitch the seam 
and clip it at intervals so that it will not draw 
the neck. (lU. 221.) 

Turn under the edge of the facing and if the 
collar extends all around the neck, hem the 
facing to tlie garment covering the seam. If 
the collar does not extend all around the neck 
edge as in Illustration 221 , turn under the iimer 




.221. Baste a Narrow Strip of Bias Materied 
Alon$ the Ld§e of ttie Collar 




III. 222. Seam Bindini^ May Be Used in 
Place of a Facing 



edge of the facing on that part of the neck 
which is beyond the collar. Stretch it to fit 
the neck and stitch it close to the fold but not 
to the garment. The facing should simply be 
pressed. It Ues flat against the garment with- 
out being stitched and as there is no strain on 
it it will stay in place. (111. 221.) 

Seam binding may be used instead of a fac- 
ing. It should be sewed on flat as in Illustra- 
tion 222. It should be put on so that the 
lower edge is not tight on the garment, eas- 
ing the upper edge in wherever it is neces- 
sary to make it lie flat. (111. 222.) 

If the garment is of sheer material, the collar 

may be sewed on with machine hemstitching 

(Chapter 25, page US), with a narrow rolled hem or a flat fell seam (Chapter 17, page 

87) or the seam may be trimmed off to M inch width and finely overcast. The machine 

hemstitching is the daintiest finish, 

TO MAKE AND 5LW ON A LINED COLLAR turn under the seam allowance along 
the outer edge of the collar and sew on the trimming or stitch it in any waj' desired before 
the collar is lined. Turn under the outer edge of the collar lining '4 of an inch more 
than the collar itself and baste it to the wrong side of the collar with the edge of the lining 
about } s of an inch within the edge of the collar, taking care not to stretch it or pull the 
edges. (111. 223 on next page.) 

Baste the lining to the collar a little more than an inch from the neck edge. Baste 
the collar to the neck edge of the garment with the right side of the collar to the wTong 
side of the garment and mth the seam toward the outside of the garment. Stitch the 
seam. Baste the Uning neck edge over the seam and hem it down neatly by hand. (III. 223.) 

!09 



no 



THE NEW DRESSMAKER 




. 223. Basting the Lining to ttie Collar 



TO FINISH A REMOVABLE COLLAR. A removable collar for the open neck of a 
frarmont not marie of sheer material i.s usually finished with a bias binding about }^ an 
iiu'h \vid(> finished. Sew one long edge of the binding to the neck edge of the collar (111. 224), 
turn in the other long edge of the seam allowance and baste it over the first sewing. 
(111. 224.) Then stitch or hem it by hand as shown in Illustration 224. 

When the removable collar is for a waist 
of sheer material it is best to finish the neck 
edge of the garment and collar with picot 
edging (Chapter 25, page 119) or with a 
narrow rolled hem. (Chapter 27, page 133.) 
For the rolled hem a thread should be 
run in the neck edge of the collar before 
rolling it, to keep the size and prevent 
stretching while rolling the hem and work- 
ing on it, for the edge is bias. 

STANDING COLLAR. If the coUar is to 

1)0 of woolen or silk like the gown, it should 

be lined with a piece of soft, hght silk. 

Turn over all the edges of the collar and 

224. Finishing a Removable Collar baste. Slip-stitch the lower edge to the 

neck. 
If closed at the left side, the 

entire collar, except the small 

portion at the back, is sewed 

to the neck. The neck of the 

lining at the left side, which is 

free, is bound with seam-bind- 
ing. For a waist with a front 

closing, bind the left side of the 

neck with seam-binding, pin the 

collar around the right side, 

with the center of collar at the 

front edge of the right front, and 

the right end of collar at the 

center-back seam. (111. 225.) III. 225. The standing Collar 




^ 




COLLARS. CUFFS AND BLLT5 111 

Se^v the collar to the neck, being careful not to catch the stitches through the outside 
material. Sew three hooks on the left end of the coUar on the inner side (111. 225) and 
one to its lower edge about half-way between the center front and back. 

Cut the facing (preferably of silk) the same shape as the coUar. Turn in the edges of 
the facing and hem it to the collar on the left side, and to the neck of the right side of the 
waist. Work three buttonhole loops at the right of the collar, and one in the left side of 
the waist at the neck. The collar and facing are shown in Illustration 22.5. 

COLLARS AND CUFFS FOR COATS AND SUITS AND CAPE^. Instructions for 
making these collars and cuffs are handled in the chapter on the making of these gar- 
ments. (Chapter 12.) 

THE BOTTOM OF A DRLSS SLE.LVL should be finished with a hem or bias facing 
or seam-binding sewed on flat like a facing, or with a trimming suitable to the garment. 

AN UNLINLD CUFF is sewed on a dress sleeve in the same way as an unlined collar. 
(Ills. 221 and 222.) 

A LINLD CUFF WHICH TURNS BACK is sewed on in the same way as a lined 
collar. (lU. 223.) 

A REMOVABLE. CUFF is finished in the same way as a removable collar. (111. 224.) 

THE CUFFS FOR A MANNISH SHIRT-WAIST. The making and sewing on of a man- 
nish shirt-waist cuff will be found in the chapter on Shirt-waists. (Chapter 8.) 

A BELT may be cut double, the edges turned in toward each other, basted and 
stitched. 

It may be cut in two portions, an outer portion and an under portion or lining, the 
edges turned in toward each other, basted and stitched. 

It may be cut in two portions, an outer portion and an under portion, which may be 
laid with the right sides face to face and stitched together on three sides. It is then 
turned right side out and the open edges slip-stitched together. 

A CASING is used for a garment that must be comfortable at the waistline, knees, 
ankles, etc. In some instances the casing is formed by a hem stitched on both turned 
edges. 

In other cases a casing is applied on either the right or wrong side of the garment. 

An elastic or drawstring is drawn through the casing to adjust the garment as desired. 

A casing is a straight piece of material with its edges turned under as shown in Illus- 
tration 226. The width of the casing depends on the character of the garment and where 
it is used. For example, you would require a wider casing at the waistline of mohair serge 
bloomers than at the waistline of a very fine batiste blouse. The casing can be made of 
the same material as the garment if it is 

suitable. In the ease of mohair serge or f ' ---^— - "-r;:! 

any other material that would make a 
clumsy casing you can use a piece of strong 
silk or lining material for the casing. 

The casing is sewed flat to the garment 
at both edges either by hemming it (111. 226) 
or stitching it by machine. 




A BELT CASING is a double belt a httle 
larger than the waist size. The ends are 
left open and an elastic or tape is run 
tlirough the casing to regidate the fulness 
around the waist. This belt easing is us- 
ually stitched where the belt joins the blouse 
and again just above the folded lower edge 
of the easing. 111. 226. Sewing on a Casing 




CHAPTER 24 



BUTTONHOLES, LYLLLT5. BUTTONS, PATENT FASTENERS, 
HOOKS AND EYES AND BLIND LOOPS 

Barred Buttonhole— Round-End Buttontiole — Tailors' Buttonhole — Simulated Buttonhole^ 

Loop Buttonhole — Bound Buttonhole— Eyelets— Sewing on Buttons— Covering Button-Molds— 

Sewing on Patent Fasteners — Sewing on Hooks and Eyes — Blind Loops 

A WELL-MADE GARMENT that is othfrwise pei-feet may be greatly iniurod in ap- 
pearance by badly made buttonholes. Thoy should always be properly spaced and 
marked before they are cut. Mark the points for the top and bottom button- 
holes, and divide the distance betwe(^n these two points into the desired number of 
spaces. The slit must be cut on the tliread of t!i(> goods, if possible, and must be large 
enough to allow the button to slip through easily, as a buttonhole becomes tighter after it 
is worked. 

With the buttonhole scissors carefully test the length of the slit and make a clean cut 
with one movement of the scissors. One of the most noticeable faults in buttonholing 

results from an uneven 

or ragged slit. This may 

be caused by dull scis- 
sors or by the slipping of 

the fabric. To i)revent 

the material from slip- 
ping, baste around the 

cutting line before using 

the scissors. 

There are tlu-ec kinds 

of buttonholes, one with 

the bar at both ends 

(111. 228), another with 

one round and one 

barred end (111. 229). and 

a I hird called the tailors' 

buttonhole. (111. 2H0.) 




III. 227. Correct Position in 
Making Buttonholes 



BARRED BUTTONHOLES as illustrated in 111. 2'28 are 
used for underwear, waists and shirts. If the buttonhole 
is in an upright positi as in the center of a plait, or if 
the strain does not com(^ at the ends of the buttonhole, as at 
the center back of a neckband, the buttonhole with a bar at 
both ends (111. '2'28) is used. If the strain on the buttonhole 
comes at one end so that the button requires a resting-place, 
as in a cuff or belt, use the buttonhole with the round end. 
(111. 229.) Buttonholes are stranded to prevent the edges from 
stretching. Bring the needle up at one end of the liuttonhole 
and, allowing the thread to lie along the edge of the cut on 
the right side of the material, stick down at the opposite end. 
Do the same on the other side of the cut and stick down op- 
posite the first stitch, with a stitch across the end to fasten the 
thread, ail. '228.) 

112 




, 228. Buttonhole with 
Bar at Both tnds 



BUTTONHOLL5, LYELET5, BUTTONS. PATENT FASTENERS, ETC. 



113 



If the material is inclined to fray, overcast the edges before working the buttonholes. 
To make the stitch, place the buttonhole over the forefinger of the left hand, holding it 
in position with the thumb and second finger as shown in 111. 227. Begin to work the but- 
tonhole close to the corner or starting-point. Insert the needle, and while it is pointing 
toward you, bring the double thread as it hangs from the eye of the needle around to the 
left under the needle. Draw the needle through the loop, letting the thread form a purl 
e.xactly on the edge of the slit. Continue these stitches to the opposite end, being careful 
to take them the same depth and close together. Now pass the needle up and down 
tlirough the goods until two or tlu-ee threads cross the end of the slit quite close to the but- 
tonhole stitches, thus forming a bar tack. (111. 228.) At tlie end, turn the work 
around so that the bar end is toward you and make several but- 
~~] tonhole stitches over the bar tack and through the material 
(111. 227.) Work the other side of the buttonhole and the second 
bar. (111. 228.) 

THE ROUND-END BUTTONHOLE is stranded in the same 
manner as the double-bari-ed buttonhole. Illustration 229 shows 
the steps in the making of this buttonhole with the opening first 
stranded and then overcast. 

Begin the buttonhole stitch as in the fu'st buttonhole, working 
down one side. When the outer end is reached, the stitches are 
taken on a slant, inserting the needle each time at a little different 
angle until the end is rounded. Continue the work on the other 
side. The inner end is finished with a bar tack. The different 
steps of this buttonhole are shown in illustration 229. 

THE TAILORS' BUTTONHOLE is used for garments of 
heavy cloth, as the round end or eyelet provides a resting-place 
for the shank of the button or the stitches holding the button. 
Baste around the line of cutting so that the material will not slip, 
and cut the slit the desired length. At the outer end cut a small 
eyelet as shown in the top figure in illustration 230. 

After cutting, the buttonhole should be stranded so that the 
worked edge of the buttonhole will be fii'm and distinct. This 
may be done with two threads of twist. Tailors follow the plan 
of using a cord formed of several strands of the buttonhole twist, 
or linen thread twisted together, 

or a gimp cord. An end of this cord or thread is secured 

at the inner end of the buttonhole between the fabrics, and 

the other end is fastened to the knee or some convenient 

place and kept taut by a slight strain upon the work as it 

is held in the hand. 

By this strain the cord is kept straight and in position 

just back of the edge of the buttonhole. The stitches are 

worked over the cord by the usual movements. After each 

stitch is di-awn down, the loose twist should be picked up 

firmly by the thumb and forefinger quite near the stitch, 

and two or three circular twisting movements should be 

made so that the loop formed will settle securely and neatly 

into its proper position. Be careful to complete each stitch 

wth uniform movements. When the eyelet is reached, the 

work is adjusted so that the stitches may be made at the 

proper slant. The stitches should radiate from the eyelet 

as the spokes do in a wheel. (111. 230.) 

The inner end of an eyelet buttonhole may be bar- 
tacked. Sometimes the bars are simply worked with an 

over-and-over stitch. This is done by passing the needle 

up through the fabric at one side of the bar and down 

through it at the other side until the bars are entirely 

covered \vith these stitches and the stays look like a fine ill. 230. Tailors' buttonhole 




111. 229. Bullonhole with 
Round Lnd 



\ ■ ■ ■ '^ 


r -'* 





114 



THL NEW DRL55 MAKER 



( ord. After the buttonholes are worked, theu* edges should be closely basted together by 
an over-and-over stitch made by pushing the needle up and down over the edges just back 
of the stitches. Then they should be pressed under a dampened cloth. In fact, all but- 
tonJioles should be pressed if the goods will permit. Before they are dry, a stiletto should 
be pushed up vigorously tlu-ough each eyelet until the opening becomes perfectly round 
and the stitches around its edges are regular and distinct. When the bastings are re- 
moved, the buttonholes will be symmetrical in appearance. 



^f 



III. 23 1 . Bound Buttonhole 



T 



III. .:?Sil. Iht-liindinS 




111. 233. A Simulated Buttonhole 



THL BOUND BUTTONHOLE is shown in 
Illustration 231. The length and position of the 
buttonhole should be marked on the garment 
with basting-cotton. A bias strip of self or con- 
trasting material about seven-eighths of an inch 
wide is used for binding it. Sew the binding to 
(he right side of the garment with rimning 
stitches an eighth of an inch from the buttonhole 
mark (111. 232). Turn in the other tliree edges an 
eighth of an inch and press them flat (111. 232). 

The binding should be fully the length of the 
slash. 

When it is sewed on and the edges pressed, cut 
the buttonhole in the garment. Be sure to cut 
a (dean, straight hole. 

Push the binding tlu-ough to the vTong side of 
the garment and slip-stitch it to position in the 
sewing line of the right side. Slip-stitch the 
corners of the binding so that they will not fray. 
Illustration 231 shows the finished bound button- 
hole. 

The bound buttonhole can be used on wool, 
silk, linen or cotton garments. It gives a finished 
look to a coat or dress and is particularly effec- 
tive when the binding itself is in a contrasting 
color, though the binding is frequently of the 
same material as the garment. 

A SIMULATED BUTTONHOLE (111. 233) is made 
of a finished bias piping (Chap. 26, page 131), 
folded in half crossways. The folded end is 
lacked to the material and the raw edges of the 
other end are pushed tlu-ough on the wrong side 
of the material with a stiletto and tacked. 




in. 234. A Loop 
Buttonhole 



A LOOP BUTTONHOLE (Ills. 234 and 23.5) is 
made with a strip of finished bias piping with or 
without a cord inserted in it. (Chap. 26, page 131.) 

The loop buttonhole can also be made of 
braid. The strip should be long enough to 




111. 235 The Ends of a Loop 

Buttonhole Mav be Tacked 

to a Button 



BUTTONHOLES, EYELETS, BUTTONS, PATENT FASTENERS, ETC. 



115 



make a loop that will slip easily over the but- 
ton after the two raw ends of the loop are 
tacked together. These ends may be tacked 
to the back of a button (111. 235), or 
sewed between an edge and its facing (111. 
234), depending on the style effect re- 
quired. 

EYELETS are holes made and worked in a 
garment to hold a cord or buttons. 

The method of making them is shown in 
Illustration 236. Pierce the eyelet-hole with a stiletto. 

Make running stitches around the circle, place the hole over the forefinger of the left 
hand and buttonhole the edge, covering the running stitches. (lU. 236.) 
Work from right to left, as shown in the first figure of Illustration 236. 




tyelet 




on Buttons 



METHODS OF SEWING ON BUTTONS are shown in Illustration 237. Always 

use a coarse single thread in preference to a fine double one. In placing buttons in posi- 
tion, lap the edges of the garment, 

and push a pin through at the 

outer end of the buttonhole. 

This will bring the button exactly 

opposite the buttonhole. Make a 

knot in the thread, push the needle 

through from the right side so 

that the knot will be directly 

under the button. Place the 

button in position. Bring the 

thread up through a hole in the 

button and down through the hole 

diagonally opposite as shown in the 

second figure of Illustration 237. Place a pin under the thread on top of the button, in order 

to keep the thread loose, and make a cross-stitch through the remaining holes. (111. 237.) 
Repeat the stitches until the button is securely fastened. Remove the pin, draw the 

button away from the material as far as possible and wind the working thread tightly 

several times around the tlireads between 
the button and the material, thus forming a 
thi'ead shank for the button. If a button is 
too closely sewed to the garment, it will not 
have room to rest easily in the buttonhole and 
wiU crowd the latter out of shape and make 
the spacing seem irregular. The loose sewing 
and the winding increase the durability 
of the work and lessen the strain on the 
button. 

The first illustration shows another way of 
sewing on a button in which the stitches are not 
crossed. This method is used in dress and 
coat making, as the stitches are considered 
more ornamental. The third illustration shows 
the method of sewing on a shank button. 
Make the stitches parallel with the edge when 
sewing on this button so that the strain will 
come on the shank. 



COVERING BUTTON-MOLDS— Cut a thin 
piece of sheet wadding the shape of the 
mold but about % of an inch smaller all 
around. (111. 238.) 
III. 238. Covering Button-Molds Place it On top of the mold. (111. 238.) 




116 



THL NLW DRE.55MAKLR 




Cut another piece of sheet wadding a little larger than the mold and place it over 
the mold on the first piece of wadding. Draw it up on the under side of the mold with a 
few crosswise stitches to make it he Hat. 

If the outside material of the button-mold is heavy the wadding may be omitted. 

FOR THL COVLRING cut a piece of the outside material the same shape as the mold, 
and a little larger than the button but not large enough to quite come together on the 
under side. (111. 238.) If it comes together the button will bo bunchy and clumsy. 
Gather the cover about one-eighth of an inch from the edge with fine iimning stitches 
(III. 238) and lay it over the padded side of the mold. Draw up the gathering 
thread. The gathering must be smooth and tight over the mold without any folds or 
wTinkles, especially at the edges. A few stitches across the back wnll hold it (111. 238). 

If the button is to be used to fasten a garment 
the back should be lined with a piece of the covering 
material. Cut the lining the size of the mold and 
the same shape. Turn the edges in and fell it neatly 
to the back of the button. (111.238). Put the facing 
on the back of the button so that it is slightly full. 
This fulness serves as a shank. (111. 238.) If 
a liutton-mold is covered with heavy cloth the 
lining should be of satin or some other thin ma- 
terial in the same color for the cloth would be too 
bulk-j-. 

If the button is to be used as a trimming, the 
lining may be omitted. 

For molds which have a hole in the center and 
which are covered with material whicli is not too 
heavy, the covering may be just large enough to 
cover the mold with only as much material in the 
back as can be forced into the hole with one's needle. 

5E.WING ON PATLNT FA5TE.NLRS — Patent fasteners are used where an especially 
flat closing is desireil and where there is no strain on the closing. Where there is a strain, 
as at the center back of a waistline or at the closing 
of a close fitting sldrt, patent fasteners don't hold as 
securely as hooks and eyes. 

The edges of the closing may be finished with a 
hem or facing. Place the upper edge over the under 
edge in the position they will be in when finished, 
and mark the position of the fasteners by running 
a pin straight down thi-ough both edges about one- 
quarter or tlu-ee-eighths of an inch from the edge. 
Separate the edges a little and mark both the upper 
and under edges just where the pin passes tlu-ough 
the material. If you use these marks for the center 
of the fastener the two sides of the fastener will 
match exactly. The heaviest part of the fastener 
is used for the under part. 

Several stitches should be taken thi'ougli each of 
the holes around the edge of the fastener, enough to 
hold it securely. (111. 239.) 

When a fastener is sewed through one thickness 
of material as at a trimming line, ribbon binding or 
tape should be used underneath the material to 
relieve the strain. 

5LWING ON HOOKS AND LYES— Before sew- 
ing on hooks and eyes, stitch each edge of the 
closing one-eighth of an inch back from the fold 
edge and again three-eighths of an inch from the m. 240. Sewins on Hooks and Lyes 




BUTTONHOLES. EYELETS. BUTTONS. PATENT FASTENERS. ETC. 



117 



first stitching as shown in Illustration 240. This gives a firm edge. 

Pin the closing edges together with the upper and lower ends even. Place a tape-mea- 
sure along one edge and with pins mark the position for the hooks and eyes. For a waist 
they should be one and one-quarter inch apart. The hooks and eyes are sewed on alter- 
nating (111. 240). for this arrangement holds the edges closer together and prevents 
them from unhooking. 

The hooks may all be sewed on one side and the eyes on the other side of the opening 
if preferred but the alternating arrangement is usually considered better. 

Separate the two rings of the hook at the back to make it lie flatter. (111. 240.) 
Place the hook well inside the edge and sew through the two rings and over the end of the 
bill. (111. 240.) This last sewing should be one-quarter of an inch from the edge of the 
garment. (lU. 240.) 

In se^ving on the ej^es let the eye extend just far enough beyond the edge of the garment 
to fasten easily. (111. 240.) Sew the eye through the two rings and at the edge of the 
garment. (111. 240.) 

Sew them securely for the sewing will give a little if there is any strain on the closing. 

Be careful in sewing the hooks and eyes on the second side of the closing to have them 
exactly opposite the eyes and hooks on the first side. 

After the hooks and eyes are sewed on, turn back the edge of the hem or facing and 
hem the fold edge by hand to the row of stitching near the edge of the closing (111. 240), 
covering the sewing of the hooks and eyes. (111. 240.) 



BLIND LOOPS are used on garments fastened with hooks and eyes, to take the place 
of the eyes. The process of making them is shown in Illustration 241. Mark the position 
of the loop opposite the hook, knot the thread and bring the needle up through the mate- 
rial. Make a bar tack the desired length (111. 241) by taking three or more stitches one 
over the other. Working from left to right, hold the thread down with the left 
thumb, and insert the needle, eye foremost, under the bar and over the thread. (111. 241.) 
The use of the blunt end of the needle facilitates the work. Draw the thread up. letting the 
purl come to the lower edge of the loop. (111. 241.) Repeat the stitches, covering the 
entire bar tack, and fasten on the wrong side. (111. 241.) Sometimes the bar tacks are 
made in the form of a cross-stitch. 




111.241. Blind Loop 



CHAPTE.R 25 

TRIMMING 5TITCHL5 

Machine Hemstitching — French Hemstitching — Plain Hemstitching — Imitation Hand-Hemstitch- 
ing — Double Hemstitching — Beading and Fagot-Stitches — Drawn-Work — Rolled Edges — Com- 
bination Running and Cross Stitching — Diagonal Stitch — Double Overcasting — Cross Double 
Overcasting — Running Stitch used as a Trimming — Blanket-Stitch — Feather-Stitching — Bar 
Tacks — Arrow-Head Tacks — Crow's-Foot Tacks 




MACHINE HEMSTITCHING is used on blouses, dresses, 
lingerie, etc., to put together seams, tinish hems 
and put on trimmings sucli as bands, etc. It is 
neat, durable and gives a garment a dainty, finished look. 
It is also used as a trimming either in straight rows or in 
a fancy design. Prices for the work vary, but it is not 
expensive. It can not be done at home, as the machine 
required is too costly, but any plaiting establishment or the 
salesroom of a sewing-machine company will do it. 

The line or seam for machine hemstitching should 
always be basted in self-colored thread so tliat the basting 
need not be removed. (111. 242.) Removing the basting 
cuts the hemstitching. Only one mark is necessary for 
French hemstitching. 

Seams on which machine hemstitching is used as a trimming or finish should be basted 
fiat with both edges of the seam turned toward the left side (III. 243) and pressed. 
An invisible seam for transparent materials can be made by machine hemstitching an 
ordinary seam. (111. 244.) The seam is basted in the usual way and the hemstitching is 
done on the wrong side of the garment just outside the basting. (111. 244.) The seam 
edges are trimmed off. (111. 244.) 

In machine hemstitching keep the garment as nearly flat as possible. Seams that are 
not to be hemstitched should not be basted or sewed until after the hemstitching is done, 
foi if they are left open it will be possible to keep the garment much flatter. If a cuff 
is to be hemstitched to a sleeve, leave the sleeve seam oi^en until the hemstitching is done. 



.242. Basle with 5elf- 
Colored Thread 





111. 243. Machine Hemstitching 
as a Seam Finish 



111. 244. Machine Hemstilchinfi 
for an Invisible 5eam 
118 



HI. 245. A Foundation Is Used 
Under Bias Edges 



TRIMMING STITCHES 



119 



A FOUNDATION FOR MACHINE HEM- 
STITCHING is necessary under bias edges 
such as shaped collars (111. 245) under thin 
materials (111. 246) and for French hem- 
stitching (111. 248) (several rows of hem- 
stitching placed close together). 

The foundation for such materials as 
net, Georgette crepe, chiffon, lace, etc., 
may be mousseUne de soie or very thin 
lawn. 

The foundation for machine hemstitch- 
ing done on the bias of the material can be 
a straight strip of the same material or of 
the foundations mentioned above, about one- 
half inch wide basted underneath the line 
to be hemstitched. (111.247.) If no material 




111. 246. A Foundation for Net. etc.. May Be Mousseiine 
de Sole or Very Thin Lawn 






III. 247. Machine-Stitching Done 
on the Bias 



111.248. French Hemstitching also 111.249. I'lt. .t I.. Imng Is Machine 
Requires a Foundation Hemstitching Cut Through the 

Center 



for a foundation is at hand, baste the article to a piece of firm paper and stitch it by machine 
along the hne for the hemstitching. (lU. 245.) This stitching keeps the edge from stretch- 
ing and gives the operator the correct line for machine hemstitching. The paper 
should be torn away before the material is sent to the operator. Paper can also be used 
in this way under straight edges of thin material when you do not wish to use a foundation. 

FRENCH HEMSTITCHING (several rows of hemstitching placed close together) re- 
quires a foundation when it is done on either thick or thin material. (lU. 248.) The 
foundation can be of the same material or of the foundations mentioned above. 

The seams or foundations are cut away close to the hemstitching after the hemstitch- 
ing is done. 

On edges other than seam edges when there is a 
single thickness of material leave about three-eighths 
of an inch of material outside the Une of hemstitching. 

PICOT EDGING is simply machine hemstitch- 
ing cut through the center. (111. 249.) It makes a 
very dainty and yet strong finish for edges of col- 
lars, sleeves, tunics, rufBes, sashes, etc. 

HAND-HEMSTITCHING is a line of openwork made 
by drawing out parallel threads and fastening the 
cross threads in successive small clusters. Draw 
as many tlu-eads of the material as desired at the 
top of the hem, and baste it on this line. Hold the 
hem toward you and work on the side on which it 
is turned up. 

Illustration 250 shows the position of the hem 
with the stitching done from left to right. 




. 250. Plain Hemstitching 



120 



THE. NEW DRL5SMAKLR 




. 252. Serpentine or Fagot Hem- 
stitctling 

is toward you. Makp a second 
row of hemstitc^hing in the same 
way, taking up the same groups of 
thread as before. (111.251.) Take 
the little stitch between the groups 
through the edges of the material 
instead of through the fold of the 
hem as in the first row. 

SERPENTINE OR FAGOT HEM- 
STITCHING is worked the same 
as double hemstitching except 
thfi t in the second row of stitches 
half of the threads of one cluster 
and half of the threads of the 
next cluster are grouped together, 
giving a slanting or serpentine 
effect. (111. 252.) For this type 
of hemstitching the groups must 
contain an even number of drawn 
wise the effect of the clusters will 



PLAIN HEMSTITCHING. Insert the needle 
in the under fold of the hem at the left-hand edge. 
Hold the work over the forefinger of the left hand, 
keeping the thumb over the thread. Take up 
four or five tlu^eads with the needle, and draw the 
needle through, holding the thread firmly by the left 
thumb. (Ill 250.) At the extreme right of these 
stitches take a short stitch in the fold of the hem, 
as shown in the illustration. Now take up tho 
same number of threads as before, and repeat. 
Care must be taken to keep the warp and woof 
threads exactly parallel, especially in hemstitch- 
ing a corner where the material has not been cut 
away. 

DOUBLE HEMSTITCHING— Draw the 

tlu-eads as for plain hemstitching and baste the 
hem in the same way. Hold the hem toward 
you and work on the side on which the hem is 
turned. Insert the needle in the under fold of 
the hem at the extreme right and work from 
right to left, holding the work over the fore- 
finger of the left hand. Hold the thread under 
the thumb and take up four or five tlireads with 
the needle, bringing the needle out over the thread 
so that it forms a loop as shown in Illustration 251. 
Draw this loop quite tight and take a small stitch 
to the left of the stitch in the fold of the hem. 
Now take up the same number of threads as 
before and repeat the hemstitching for the length 
of your hem. When it is finished turn your work 
so that the opposite side of the drawn threads 




. 253. Preparing for Imitation 111. 254. Imitation Hand Hem- 
Hand Hemstitcliing stitching bv Macliine 



threads so that they can be di^^ded evenly, 
be irregular and uneven when finished. 



Other- 



IMITATION HAND-HEMSTITCHING can be worked on the sewing-machine. Illus- 
trations 253 and 254 show how it can be done on the machine at home. This gives a 
form of hemstitching that is often used on house linen — sheets, tea-cloths, etc. Fold 
the material for a hem, and cut the garment off one-quarter of an inch above the 
sewing fine. Fold blotting-paper or any soft paper to one-eighth of an inch thickness. 
Place the two cut edges of the garment together, as if to sew a seam. SUp the 



TRIMMING STITCHES 



121 



ilIA,. 





-^. 7 



2d5. Drawini^ Ihe Threads 



blotting-paper between the two edges, 
loosen the tension of the machine and 
stitch a quarter-inch seam through all 
the thicknesses. (111. 25.3.) When the 
seam is stitched, cut the paper close to 
the stitching and pull it out. The 
stitches between the two edges of the 
material \\all then look like lUustration 
254. The edge toward the hem ib turned 
down and the hem is stitched bv ma- 



chine, close to 
turning. The 



the 
raw 




edge of the garment 
is turned in and 
stitched by machine. 

DRAWN-WORK 

makes an exquisite 

trimming for lingerie 

frocks and blouses, 

and for dresses for 

children and young 

girls. It is also used 

on lingerie. Cotton 

voile is the best material to use for drawn-work because the threads pull easily. This 

material can be used for dresses, blouses and underwear. Batiste and handkerchief Unen 

can also be used, but it is a bit more difficult to draw the threads. 

For household linens, drawn-work adds to the beauty and value of the linen and can 
be used alone or with h.ind-embioidcry. 



. 256. Run the Needle 
Under Four or five 
Threads 




III. 257. Take 
a Stitch in the 
Material and 
Through the 
Loop 




10 

111.258. WorkDownthe 

Opposite Side. Taking 

the Same Number of 

Stitches 




Ills. 259 and 260. For Twisted-Thread Drawn-work 



III. 26 1 . Fagot Drawn-work 



mmmmw>m 




Ills. 262 an.lJI 



.\ ork 



Drawn-work can only be done on 
the straight line of the goods, for it is 
done -nnth the drawn threads. It can 
never be done on a circle or cmve. 

To prepare to draw the threads de- 
cide on the length of the drawn-work. 
Measure up the required number of 
inches and place a mark. Draw one 
tlu-ead from this mark, then with the 
points of a sharp pair of scissors cut 
across the desired number of tlu-eads. 
(lU. 255.) Pull out a little of each thread 
with a pin and pull the thread. On 
voile two or three can be di'awn at a 
time. 

When the threads are drawn, run the 
needle under four or five threads (111. 
256), using number sixty cotton foi- the 
blouses and number sixteen twisted 



122 



THE NEW DRLS5MAKE.R 



embroidery thread for a dress. Draw it down in front of you. This will form a little 
loop. Take a little stitch in the material and tlirough the loop; piiU the thread tight 
to form a knot. (111. 257.) Take up the next four or five threads. (The thread be- 
tween the stitches should be loose, but the knots should be tight.) Work all along one 
side, overcast the end of the work, and turn, working down the opposite side, taking up 
the same stitches. (111. 258.) This is plain drawn-work. 

For the twisted threads used so effectively on Illustrations 262 and 263, hemstitch 
both edges as directed above, then weave the threads as f oUows ; 

Join the thread in one end of the work. *Run the needle under the first three threads, 
turn; run the needle over the third and under the second and first tlu'ead, turn; run the 
needle under the second and foiu-th tlu-eads (111. 259), tui'n; run the needle under the 
second. (lU. 260.) Now pull the tliread and repeat from *. 

For the fagot drawn-work used as a border in the wide draijsTi-work and on a 

dress, draw the threads as usual and 
hemstitch one edge, taking up ten 
threads; take a little overcasting stitch 
between each knot and bring the tlu-ead 
out in the center of each thread. When 
the row is finished, turn and work back, 
taking half of the first group in the first 
stitch and the remaining half of the first 
gioup and half of the second in the next 
.stitch (111. 261.) 




III. 264. iimple Fagot-Slitch 



THE. FAGOT-STITCH is a style of 
hand-made trimming that is always popular 
and attractive. (111. 264.) The simple 



beading stitch or any of the more elaborate 
stitches shown in the illustrations, which 
are very effective for trimming dainty 
lingerie, may also be used as a beading 
through which to run naiTow ribbon. 

For fagoting, the design of the work 
should first be traced on a piece of stiff 
paper. Or, as in the case of a yoke or 
collar where a fitted shaping is required, a 
fitted pattern should be cut of stiff paper, 
and the ribbon, braid or folds of the ma- 
terial basted evenly in position, following 
all the curves. When the fagoting is to 
be applied to the garment in fancy design, 
and the material underneath the stitches 
cut away afterward, the entire piece of work should be smoothly basted over paper, 
and the line of spacing which lepresents the fagot-stitching outlined -ndth chalk or trac- 
ing cotton. 




. 265. Simple Beading 5tilches 



THE. 5IMPLL FAGOT-STITCH is done by crossing first from left to right, and re- 
crossing from side to side between the folds of the material, taking a small stitch in the 
edge. The needle in crossing each time passes under the thread of the preceding stitch, 
thus giving the threads a slight twist at the edge of the material. (III. 264.) 



SIMPLE BEADING STITCHES are shown in Illustration 265 on this page. 

To make the upper design, a buttonholed bar, take a stitch directly across the space 
between the two folds and work the buttonhole-stitch over the thread back to the start- 
ing-point. Then stick the needle into the edge of the fold near the hole of the first stitch 
to keep the bar from twisting, and on the under side pass on to position for the next bar. 

In the lower design the thread is carried across as in the other case, .and. returning, 
one loose buttonhole-stitch is made over the tluead. Over this same loop ran two closer 
buttonhole-stitches. Then make a second loose buttonhole-stitch over the first thread, 



TRIMMING 5TITCHL5 



123 



and again, as before, the two close button- 
hole-stitches over this loop. Catch the needle 
into the edge of the fold, and pass on to the 
next stitch. The link bar is not so difficult 
to make as it appears, and really can be done 
more quicldy than the plain buttonhole-bar. 




wemmmm 




111. 266. Elaborate BeadinS Slilches 



MORE ELABORATE BEADING STITCHES 
are shox\Ti in Illustration 266. The upper 
design is a combination of the link bar 
(described in the preceding paragraph) run 
diagonally across the open space, and a simple 
t'nnsted stitch run straight across from the 
ape.x of each of the triangles thus made. 

To make the second design from the top in 
Illustration 266, bring the tlu-ead up from one 
edge of the fold over to the opposite edge, take a 
stitch from the under side and draw the thread 
taut. Then insert the needle three-eighth-! 
of an inch from that point. alloAving the 
thread to form a tiny loop. Insert the needle 
again directly opposite the last hole, and from 
this point make five buttonhole-stitches in 
the loop. Now catch up the edge of the fokl 
just where the first plain stitch began, and 
on the under side bring it over to the second 
plain stitch, and draw it up for the next loop. 

In the third design in Illustration 266 the thread is first carried across from one fold to the 
other and left rather loose. Then the thread is brought up through the same fold one- 
quarter of an inch from the point where it was just inserted. Make five buttonhole- 
stitches in the loop formed of the thread in crossing, and insert the needle in the op- 
posite edge. 
Now carry the thread over again to form the next loop, running the needle into the same 

hole. Bring it up one-quarter of an inch 
b^Iow this point, and continue as before. 
To make the buttonhole cross-bar stitch 
"y— ' — f^ "^X"! illustrated in the fourth design of Illustration 
/, jj ly 266, first make a but tonholed bar as described 
in the paragraph on simple beading stitches 
but do not draw it tight; rather let it curve 
a trifle. Then proceed as if for the next 
b.ar, but when crossing catch into the pre- 
ceding bar at the center buttonhole-stitch, 
and then continue to the opposite edge. Make an even number of buttonhole- 
stitches on each side on this thread. Allow a small space between the cross-bars. 




■/##t1 



III. 267. Rolled Ldges 



ROLLED EDGES are used as a trimming on waists and dresses of thin materials and 
also on children's clothes. They are worked vnth t^^^sted embroidei-y silk on silk ma- 
terials and with mercerized cotton on cotton materials. Either self or contrasting colors 
may be used. Hold the right side of 
the material toward you. Begin at the 
right end and roll the edge toward you 
between the thumb and forefinger of the 
left hand, keeping the edge rolled for 
about one and a half inch ahead of the 
sewang. Fasten the thread at the right 
and take slanting stitches over the roll. 
The stitches should be about one-quar- 
ter of an inch apart. Do not draw the m 268. Combmalion Running and 
thread tight. (111. 267.) Cross Stitch 




124 



THE NLW DRL55MAKLR 



Where two edges are joined as in a waist with a fancy lining both edges should be 
rolled separately. Place the rolled edge of the outer part directly beneath the rolled edge 
of the under part. (111. 267.) Sew them together with running stitches about one- 
quarter of an inch long just below the lower roll. 






\\\w 



111. 2(. 



I 'ridl Milch Used as a Trimming 



CROSS -STITCH, FRLNCH-KNOT 
LMBROIDLRY, BRAIDING, BLAD- 
ING AND LMBROIDE.RY are worked 

from transfer designs. Designs for 
every kind of fashionable hand 
trimming wiU be found in Needle- 
Art. Every transfer gives illus- 
trated directions for making the 
stitches suitable for that design. 

COMBINATION RUNNING AND 
CROSS-STITCH is used as a trim- 
ming and around the edges of waists, 



dresses and children's clothes and to 
hold the hems of facings. (111. 268.) 
Work two rows of running stitches 
about three-eighths of an inch apart. 
Make the stitches about five-eighths 
of an inch long and the space be- 
tween the stitches one-half an inch. 
Fasten your' thread at the extreme 
right and bring the needle out at the 
lower left-hand corner of the space, 
near the running stitch. Insert the 
needle at the upper right-hand corner 
and bring it out at the lower right- 
hand corner of the same space near 

the running stitch. Insert the needle at the upper left-hand coi'ner near the running 
stitch. This eomi)letes the first cross-stitch. (111. 268.) Take a long slanting stitch at 
the under side of the garment, bringing the needle out at the lower left-hand ooi'ner of 

the next space. Work a cross-stitch 
in each space according to the in- 
structions just griven. 




11.2 70. Double Overcasting 



i^^XXXXX 




^xn 



TRI MMING ST1TCHE.S such 
as doulile overcasting, cross double 
overcasting, diagonal stitch, etc., 
may be worked in rope silk, wool or 
fine cheniUe on garments of silk or 
wool. In mercerized embroidery 
cotton these stitches may be used 
on garments of cotton materials. 

DIAGONAL STITCH isused as 
a trimming and to hold hems and 
facings at the edges of necks, arm- 
holes, tunics, etc. As many rows 
may be used as desired. Use a 
Butterick smocking transfer with the dots three-eighths of an inch apart. Stamp two 
rows of dots for every row of diagonal stitches. (111. 269.) 

Fasten the thread at the riglit * and bring the needle up through the first dot in the 

lower row. Insert the needle one dot to the left in the upper row and take a stitch straight 

down bringing the needle straight up through the dot directly beneath in the lower row. 

Repeat from * till the end of the row. (111. 269.) This trimming works up quickly 

and is very effective in contrasting color. 



111. 2 7 1 . Cross Double OvercastinS 



TRIMMING STITCHES 



125 



DOUBLE OVERCASTING is used to finish the edges of waists, thin dresses and 
children's clothes. Turn under a hem one-quarter of an inch deep and baste it. Hold 
the work loosely in the left hand. Fasten the thread at the right and overcast toward the 
left. (Chapter 16, page 82.) Make the stitches about the depth of the hem and place 
them three-eighths of an inch apart. When the entire edge is overcast, overcast in the 
opposite direction, inserting the needle at the base of each stitch in the previous row. 
(111. 270.) The stitches of the first and second rows vnll cross at the edge. (III. 270.) 

CROSS DOUBLE OVERCASTING is used to fini-sh the edges of waists, thin dresses 
and children's clothes. Turn under a hem about one-quarter of an inch deep and baste it. 
Hold the garment loosely in the left hand with the edge away from you. Fasten the 
thread at the right and overcast toward the left making the overcasting stitches 
(Chapter 16, page 82) three-eighths of an inch apart and the depth of the hem. Take 
care to keep them even. (111.271.) 

When the entire edge is overcast, insert the needle at the lower edge of the hem, directly 

under where the last stitch crossed the 
edge. Overcast in the opposite direc- 
"■" tion so that the stitches of the first and 

"*""' second rows cross in the middle of the 

— ' . hem. (111. 271.) 

RUNNING STITCH used as a trim- 
ming consists of several alternating 

■ rows of the stitches at the edges of 

waists, dresses and children's clothes to 

hold the hem or facing. These stitches 

are about one-half inch long and one- 

A space of one-quarter of an inch should be left 




III. 272. Running 5litch as a Trimming 

quarter of an inch apart. (111. 272.) 
between the rows. (111. 272.) 



BLANKET-STITCH is used as a trimming on organdy blouses and dresses, and on 
voile and Georgette crepe. It can be worked in rope cotton or in wool. The wool is 




'lllllllJlimillllllniim' 





/!\ /^ B\ /MM^ /i\ )^)^ 




.273. Variations of the Blanket-Stitch Used as Trimmings 



126 



THE NLW DRESSMAKER 





|K 


-iLLLU 


1 




III. 274. The Blankel- 


V 


/ 


Slilch 







especially pretty. It can also be used in the same way on thin dresses and in wool on 
serge dresses and on crepe de Chine. 

The blanket-stitch is also used to protect the edges of heavy woolen materials and to 
prevent them from fraying. It is used on silk, serge and voile dresses, instead of over- 
casting the edges of the seams. 

The plain blanket-stitch is used for overcasting seams, but as a trimming you can use 
either the plain blanket-stitch or variations of it shown in Illustration 273, shown on 
page 125. 

In working a blanket-stitch do not use a knot but secure the thread by running 




her-stilching 



one or two stitches toward the edge, 
holding the thread under the left 
thumb. Insert the needle the depth 
required, bringing it out under the edge, 
allowing the thread beneath to form an 
edge. (111. 274.) 



THL FEATHER-STITCH is one of the most frequently 
used of all ornamental stitches, for it can be worked 
with the coarsest of yarn or the finest of silk or linen tliread 
according to the nature of the material on which it is used. 
It makes a most satisfactory trimming. The single, double 
and triple combinations are shown in Illustration 275. 




111.277. \v'reath Design 



TRIMMING 5TITCHLS 



127 



Run a colored thread along the outline to mark the center line for the feather-stitching. 
To make the single stitch, knot the thread and then bring the needle up through the mate- 
rial. Hold the thread down over the line with the left thumb. Insert the needle a little 
to the left of this line, and take a short, slanting stitch toward the right, drawing the needle 
out while the thread is held down smoothly by the left thumb. Then hold down the 
thread on the center line and take a stitch of equal length on the right side and draw it out 
as before. 

For the double combination, take two stitches to the left, and two to the right each 
time before crossing the center line, and for the triple combination, take three stitches. 
The beauty of feather-stitching depends on its evenness. Illustrations 276 and 277 
show ornamental designs. 




(ii[i|iiir 



ni®!]]- 



111.278. Making a Bar Tack 



. 279. Barred on Lnds 



BAR TACKS make a very neat and serviceable finish for the ends of seams, tneks 
and plaits, and the corners of collars, pockets and pocket-laps of tailored garments. 
Illustration 278 shows the piocess of making the simple bar tack, generally used as a stay 
for pocket openings. Mark the length desired for the tack, stick the needle tlirough the 
entire thickness of the goods, down on one side, up on the opposite, and repeat several 
times, according to the required strength of the tack. Then without breaking off the 
thread, make one short stitch across one end of the long ones, and continue stitching 
closelj- all the way across, firmly covering the thjeads of the long stitches. Keep the.se 
cross-stitches close together, and while working, press the long stitches with the needle, 
to produce a cord-like effect. 

On garments having a finish of machine-stitches at pocket openings, etc., the bar 
tack, with small bars crossing the ends of the plain bar, is more ornamental. (111. 279.) 
The process of making is similar to that of the simple bar tack, with small bars worked 
in after the long one has been finished. 

ARROWHEAD TACKS are used at the top or bottom of plaits and laps and at the 
ends of seams and poektt openings. (Ills. 280, 281, 282 and 2S3.) 

Fu'st make an outline of the arrow with chalk or pencil. Bring the needle up at point A, 
then take a small stitch at point B as shown by the position of the needle in Illustration 280. 
Bring the needle down at point C (111. 281), up very close to point A along the line CA 
(111. 281), and take another stitch at point B close under the fu-st one, and down very 
close to point C along the line CA. (111. 282.) The needle must go in on the chalk line 
BC and come up on the chalk Une BA, keeping the outline of the triangle. Each suc- 
cessive stitch below point B will be a Uttle longer than the pre\dous one. Repeat this 




Zb 1 . Second Movement 



111. 282. Ttlird Movement 



128 



THE NLW DRESSMAKER 




III. 283. Arrowhead 

stitch until the entire space is filled. At the top of this page the completed arrowhead 
is shown in Illustration 2S3. It makes a neat, attractive finish. 

THE CROW'S FOOT TACK is the most ornamental of the fancy tacks ordinarily 
used at the ends of pocket openings and seams. It is shown in Illustration 2S4,^^^tll the 
detail of the stitch in Illustrations 285 and 286. 

OutUne the tack with chalk or pencil. The dotted outhne seen in Illustration 285 
shows the correct design for the tack. Bring the needle up at point A, pass it down at 
B, and up again at B outside of and close to the stitch in line AB: then down at C, up 
at C outside of and close to the stitch in line EC, and do-rni at A just outside the stitch 
in hne AB, as ilhistrated in Illustration 285. Now bring the needle up on the dotted 
line AC outside the stitch on hne AC close to A: pass it do^\^l on dotted line BC outside 
the stitch on line BC close to B ; up on dotted hne AB outside both stitches on line AB 
close to B; down on dotted line CA outside the stitch on line CA close to C; up on 
dotted line BC outside both stitches on line BC; and down on dotted line AB outside 
both stitches on line AB, as shown in Illustration 286. Fill in the entire outline in this 
way until the completed foot looks hke Illustration 284. It will be noticed in making 
this tack that all the stitches are taken on the dotted hues and always outside the made 
stitches, thus compressing the first stitches so as to curve the sides of the tack like the 
outline. 

For working these ornamental tacks, coarse buttonhole twist or t-ndsted embroidery 
silk is usually employed, and it is generally the same color as the material. With a Uttle 
practise these tacks can be well made, and any of them wiU add greatly to the finish of 
the garment. 

Tlie crow's-foot is generally worked in scarlet or dark blue silk on the pockets of serge 
sailor suits. When it is used to finish the end of a plait in a skirt it is worked in floss 
the color of the dress. 






III. 284. Ctow's-Foot 



A 'C 

. 285. Detail of Crow's-Foot 



III. 286. Second Movement 



CHAPTER 26 

BIAS TRIMMINGS 



Bands or Folds — Lined Fold — Piped Fold — Double Folds — Milliners' Fold — Tailors' Strap — 
Cording — Corded Tuck — Piping — Cord Piping — Bias Bindings — Rolled Hem 



BANDS OR FOLDS U5LD AS TRIMMING 
are made in a variety of ways. They 
may be lined, unlined, double of the mate- 
rial, or piped at the edges. Cut the band the 
required width, alloOTng for a turning at both 
edges. 

THE UNLINED FOLD (111. 287) is made with its 
lower edge basted up in a hem and stitched 
evenly from the right side. The upper edge 
is turned over, and the band is then basted 
into position on the garment. The upper edge 
is stitched through the garment, making the 
one stitching serve two purposes. (111. 287.) 

THE LINED FOLD is finished before it is 
applied to the garment. Cut a strip of lining as 
vAde as the band should be when completed. 
Baste it evenly on the wrong side of the strip of 
material, turning both edges down over it. 
(111. 288.) Catch-stitch the edges to the lining, 
(111. 288) and the fold is ready for use. (111. 288.) 



f^ET 



k 






111. 287. Unlined Fold 




III. 288. Lined Fold 



THE PIPED FOLD is one in which a cord or piping (see page 131) has been applied to the 

edges with one or more rows of machine- 
stitching to give it a tailored finish. (III. 
289.) 

DOUBLE FOLDS are made of bias strips 
cut twice the width desired for the finished 
band with turnings or seam allowances extra. 
Fold them over on the center line and baste 
them flat. Tiu-n the two raw edges in and 
baste them together. (111. 290.) Then join 
them neatly with slip-stitches, and apply to 
the garment by hand. If machine-stitching 
is desired, baste the fold in place first and 
then stitch. These folds are frequently used 
as a trimming in the place of tucks. 

A MILLINERS' FOLD is made by turning 
the top edge of the strip over one-half the 
width of the finished fold. Bring up the lower 
turned-under edge, covering the raw upper 
edge. (111. 291.) Sew flat with slip-stit(?liing, 
fine running stitches, or by machine. (111. 291.) 
129 




. 289. Piped Fold 




HI. 290. Uoubltr 



130 



THL NLW DRLSS MAKER 




If the material is very sheer, it is a good 
plan to have a small strip of paper, not 
quite the width of the fold, to slip along 
■within the fold as the work progresses. If 
pressing is necessary, use only a warm iron. 
Crepe folds are cut on the straight of the 
111.291. Stitched Milliners- fold goods, SO that the crinkles will run diago- 

nally. 
TAILORS' 5TRAP5 are folded bands 

used to strap seams, or as an ornamental 

trimming on tailored garments. They 

may be cut on the bias if of velvet or 

taffeta; crosswise if of woolen; length- 
wise if of cotton materials. Fold the 

strip at the center and catch the raw 

edges together with loose whip-stitches 

as shown in Illustration 292. Spread 

out the fold and press it well. Baste 

into position on the garment and stitch 

by machine on both edges. 

CORDING is a very useful trimming 
and is made with bias strips and Germantown or eider-down wool. The bias strips should 
be about an inch and a quarter wide. Fold the strips lengthwise through the center and 
run a seam a quarter of an inch from the fold edge. With the strips still wrong side out, 
slip the ends of several strands of Germantown or eider-down wool far enough into one 
end of the tube-like covering so that you can sew them securely to it. Then with the 
loop end of a wre hairpin push the wool farther and farther into the covering, at the same 
time turning the covering right side out. (111. 293.) 





111.293. PushinS the Wool Through 

When cording is used to form a motif, stamp the 
motif on ordinary wrapping-paper. The cordings are 
first basted in place on the design with the seam upper- 
most so that the right side of the motif will be next 
the paper. They are then sewed together at the points 
of intersection and contact. (111. 294.) 




III. 294. Cord Motif 







ill. 295. Corded Tuck 



A CORDE.D TUCK is shown in 
Illustration 295. The illustration 
shows the cord being put into the 
tuck for trimming. Mark the trim- 
ming line for the cord with colored 
thread. Hold the cord underneath 
with the left hand and enclose it in 
a tuck, sewing it with fine, even run- 
ning stitches as close to the cord as 
possible. (111. 295.) 

CORD PIPING is shown in Illus- 
tration 296. A bias strip of material 
is used for the pipings. The cord is 
run in the same way as for tuck 
cording and the piping is applied to 



BIAS TRIMMINGS 



131 




Cord Piping 



the edge the same way as a plain piping. 
(111. 298.) 

PIPING is a finish which is much used in 
dressmaldng. It is easy to use and gives an 
opportunity for attractive color combinations. 
It can be applied along the edge or included in 
a seam. 

Cut bias strips an inch and a quarter wide, 
if the material to be used for the piping is 
firm, like taffeta, etc. If a loosely woven material is used, the strips should be a trifle 
wider. Join all the strips, as described on page 15, and press the .seams open. Then fold 
the strip over at the center line and baste it flat, being careful not to let it become twisted. 

Next prepare the edge of the material to which the piping is to be applied. If desired, 
cut a lining three-eighths of an inch narrower than the pattern or the piece to be lined. 
Baste this lining into position as shown in Illustration 297. 

If the edge forms a fancy outline, as illustrated here, turn the edges over evenl3' all 
around, clipping at the corners and folding in at the points where necessary. (111. 298.) 
Then nm a basting-thread an even width (about three-eighths of an inch) around the edge 
to serve as a guide. Next baste on the piping, following this line closely. Be careful 






111.297. Lining Basted to 

Material 



III. 298. Under Side Showing 
Piping Clipped at Corners 



III. 299. Right Side of Completed 
Piping 



to avoid any scantiness at the points or bu'giness at the corners, 
the right side of a pointed edge neatly piped. 



Illustration 299 shows 



BIAS BINDINGS make attractive finishes either in same or contrasting material or 
color. Cut bias strips of material tmce the width of the finished binding plus % of an 
inch for a seam on each edge. 

Join all the strips (111. 1.5, page 15), press the seams opei. Sew the binding on the right 
side of the garment and then turn it to the wTong side, Hem it by hand or machine to 

the first line of sewdng. Be careful not to 
let the bias strips twist. 

Bias bindings, instead of being turned 
in and blind-stitched on the wTong side, 
can be turned in on the right side and held 
down by running stitches, al)out tlu-ee- 
eighths of an inch long, worked in em- 
broidery silk, wool or embroiderj- cotton 
of a contrasting color. 




111. 300. The Rolled Hem 



A ROLLED HLM makes a very pretty finish for bias or straight trimming bands. 
It can only be used on a straight edge and can not be used on a curved edge. 

An allowance of one and a half inches will have to be made on the edge for this hem . 
Fold the edge over on the right side and sew one-quarter of an inch from the fold (111. 300). 
Then turn under the raw edge one-quarter of an inch and hem it over the stitches on the 
■\\Tongside (111. 300). The hem must look round like a cord when finished — not flat (111.300). 



CHAPTER 27 

APPLIED TRIMMINGS, RUFFLL5, EMBROIDERY AND LACE-Part 1 



Ruffles — Embroidery Used As a Facing — Embroidery Joined In a Tuck — 
Embroidery Inserted by Machine — Embroidery Inserted Witli Rolled 
Hems — Embroidery Mitered — Whipping on Trimming — Inserting Lace — 
Inserting Lace Above a Facing — Mitering Lace — Shaped Pieces of Inser- 
tion — Inserting Lace Medallions 



A RUFFLE USED AS TRIMMING may bo 
whipped and gathered. Roll the raw edge 
and overcast' the material as far as it is 
rolled, taking care to make the stitch below 
the roll, not through it. (Ill 30L) Draw up 
the thread, maldng the ruffle the desh-ed ful- 
ness. Di\ade the ruffle in quarters and mark 
them with colored thread. Make correspond- 
ing marks on the edge to which the ruffle 
is to be attached. Roll the edge of the gar- 
ment and overhand the ruffle to it, taking a 
stitch in every whipped stitch of the ruffle. 

TO INSERT A RUFFLE IN A HEM turn the 
hem toward the right side of the garment 
and crease the fold hard. Divide both ruffle 
and hem in quarters and mark each division 
with colored thread. Insert the edge of the 
ruffle in the hem close to the fold (111. 302) with 
the right side of the ruffle to the right side of 




\','I"jir>r'IiT^ :,nil C'-.iiin riir;; 



,^i 



f 



L_ 



. 303. Finished Rudle on Right Side 



the garment and the corresponding 
marks together. Baste and stitch one- 
quarter of an inch from the fold. Turn 
the hem back to the WTong side of the 
garment, fold the second tiu-ning, baste 
and hem. (111. 303.) 

TO COVER THE JOINING OF A 



132 



APPLIED TRIMMINGS, RUFFLES, EMBROIDERY AND LACE 133 



RUFFLE, divide both ruffle and gar- 
ment in quarters and marli with pins or 
colored thread. Gather the ruifle and 
baste it to the garment. Turn the raw 
edges up on the garment and cover with 
a narrow bias band which can be 
bouglit by the piece \^^th the edges 
turned ready for use. (III. 304.) This 
finish may be used on either the right or 
wi'ong side of the garment. Frequently 
this tinish is used on berthas or scalloped 
edges that are not lined or faced. 




III. 306. 



Lmbroidery Joined 
In a Tuck 





lU. 307. Insertion Insel with 
Rolled Hem 



. 304. Band Covering Joining of Ruffle 



EMBROIDERY EDGING USED AS A FACING 
is shown in Illustration 30.5. The plain mate- 
rial above the embroidery is applied as the 
facing. Crease the edging off at the depth it 
is to extend beyond the garment. Baste the ma- 
terial along the crease so that the seam will come 
toward the inside of the garment. Then stitch 
the seam. Now turn the edging down, fold in the 
raw edge at the top, and hem down as a facing. 
The facing should be no wider than necessary to 
make a neat joining. 

TO JOIN EMBROIDERY IN A TUCK, make 
several tucks in the plain material above 
the embroidery if it is wide enough. Then 
measure carefully the amount for the space be- 
tween the tucks, the under part of the tucks, and 
the seam. Cut away the superfluous material 
and join the edging to the garment. Crease the 
tuck with the seam directly in the fold so that the 
raw edges will be encased in the tuck. When the 
materials of the garment and the embroidery are 
similar, and there are several tucks above and be- 
low the seam, the joining is imperceptible (111. 306) . 

EMBROIDERY MAY BE INSERTED by differ- 
ent methods. When a straight-edge insertion 
is used, the plain material may be cut away 
at each side of the embroidery. The material of 
the garment is then cut away under the embroi- 
dery, lea\'ing a small seam, which is rolled and 
whipped to the embroidery as shown in Illus- 
tration 307. 

A ROLLED HEM may be used as a dainty 
finish in joining trimming of any kind to a gar- 
ment of sheer wash material. Hold the \\Tong 
side of the material toward you, and, after trim- 
ming off all raveliugs, begin at the right end and 
roll the edge toward you tightly between the 
thumb and forefinger of the left hand, keeping the 
edge rolled for about one and a half inches ahead 
of the sewing. (III. 307.) 



134 



THE. ISLW DRL55MAKE.R 





















«■ 




^^iM 


"*Vw 


w^V 








-•-^ ^^^^^^ 












^ 



11!. 308. Insertion Inset bv Machine 



If preferred, a small seam may be left on 
the insertion as well as on the garment and 
put together by a tiny French seam. This 
is the finish most commonly employed. 

Embroidery also may be inserted by a 
machine fell seam. (111. 308.) Baste the 
insertion to the material with a narrow 
seam on the wTong side. Trim off all 
ravelings and insert the raw edges in the 
hemmer of the machine, and stitch as in 
hemming. 

LMBROIDLRY TRIMMING MAY BE 
MITLRLD so that the joining will scarcely 




III. 309. Showing Cut tor Mitered Corners 




.311. \\'hipping on TrimminS 




III. 312. Showing Cut for Lace Insertion 



3 10. Milerod Em- 
broidery 

be seen. Fold it over so that the crease comes 
exactly in the middle of the corner, taking care 
to match the pattern perfectly. Crease firmly, 
and cut on the creased line. (111.309.) Place 
the right sides face to face and buttonhole the 
raw edges together with short, close stitches. 
IHustration 310 shows the finished corner. 
The method of maldng the buttonhole-stitch 
is shown in Illustration 227 on page 112. 

WHIPPING ON TRIMMING is generally 
done on an edge. If lace, it should be either 
gathered by pulling the heavy tlu-ead which is 
usually found at the top, or whipped and 
drawn as in a ruffle. Roll an inch or two of 
the garment material, place the lace with its 
right side to the right side of the material, and 
whip both together. (111.311.) Lace may be 
whipped on plain if preferred, but it must be 
eased in. Insertion may be inset in the same 
way. 

METHODS OF INSERTING LACE and 

insertion, when the material has a straight 
edge, are shown in Illustrations 312 and 313. 
Fold the material for a hem, creasing the 
lower fold hard. Open the hem and baste 
the lace edge just below the lower fold, and 
stitch. (111. 312.) Turn back the hem and 



APPLIE.D TRIMMINGS. RUFFLE.5, E.M BROIDERY AND LACL 135 




mmmmm^mm 



¥jmmmMsmmm. 




11. 3 1 3. Finished ELffect of Inserting Lace 




crease the material on a line with 
the top turning of the hem (111. 312). 
Cut to within a small seam above 
this crease. Fold in the raw edge, 
insert the edge of the lace inser- 
tion (111. 313), and stitch. Turn a 
second hem, following these direc- 
tions, baste the other edge of the 
insertion just below the lower 
crease, and stitch as before. As 
many rows of insertion may be 
used in this manner as are desired. 

INSERTION ABOVE A FAC- 
ING is first basted in po.sition, 
and the upper edge is finished as 
shown in Illustration 314. The 
facing is generallj' used when 
the outline of the lower edge is 
curved or pointed so that it can 
not be turned up in a straight hem. 

Draw the pull-thi-ead in the 
lace where a curve requires a 
slight gathering to make it lie 
flat. The facing is cut to fit the 
outline of the lower edge and 
applied as a false hem, as shown 




.314. Lace Insert above Facing 111.315. Lace Inseit 

in Illustration 314. When edging is used, it is basted to the bottom before the facing is 
added and all stitched in a seam together. Turn under the facing at the line of sewing, 
baste in position and stitch 
insertion from the right side. 

TO INSERT LACE IN- 
SERTION in a garment, 
pin the lace in the position 
desired, and baste down 
both edges of the insertion. 

If the insertion is narrow, 
the material is cut througn 
the center (111. 315) ; but if 
the insertion is wide, the 
material is cut away from 
underneath, simply allow- 
ing a seam on each side. iil3I6. Lapping and 
The edge is turned in a nar- Matching Lace 




111. 3 I 7. Mitered 
Lace 



136 



THE. NEW DRESSMAKER 



row horn covering the line of the basting. Stitch the insertion close to the edges from 
the right side, and at the same time catching through the material of the hem. 

TO MITER LACE— The lace should 
be cut between the cords, not across 
them. Overhand the edges to- 
gether, putting the needle back the 
depth of two cords. Illustration 316 
shows the figures cut around the edge, 
lapped and hemmed around the figure 
on each side. For a stronger corner, 
the lace may be mitered in a very 
tiny, flat hem. (lU. 317.) 




on a Curve 



JOINING ROWS OF LACE TO FIT A CURVE— A shaped piece made of rows of 
insertion joined together is made over a piece of stiff paper. Cut a piece of stiff paper the 
correct size and shape of the collar, yoke, etc., that you are making, and baste the rows of 
insertion to the paper so that the edges of the rows just meet. (111. 318.) Begin with the 
longest row of insertion and baste the longest edge of that row to the paper with the 
right side down. Draw the pull-thread at the shorter edge of the same row to draw it into 
a curve. If you are careful in distributing the fulness evenly, most of it can be pressed out 
unless the curve is very great. Whip the edges of the rows together and press them before 
removing them from the paper. (111. 318.) 

TO INSERT LACE MEDALLIONS, baste them to the material and stitch them by 
machine as close to the edge as possible. 

Cut out the material from under the lace, leaving a narrow seam's width at each side. 
(lU. 319.) 





111.319. 



Finishing the Underside of 
Medallion Inset 



111. 320. 



Medallion and Insertion Set in 
by Machine 



This edge may be turned back and stitched flat by a second row of stitching, leaving a raw 
edge. Or, it may be overcast closely with the raw edge rolled in to prevent any possible 
raveling. Illustration 319 shows a medallion set in in this way. Sometimes, where two 
finished edges come together, they are lapped and stitched together as shown in Illustra- 
tion 320. 



CHAPTER 28 

APPLIED TRIMMING-Part 11 

Gathering — Shirring — Tuctc Shirrings — Cord Shirrings — Scalloped or Snail Shirrings — Simple 
Ruche — Three-Tuck Ruche — Box-Plaited or Gathered Ruches — Single Ruche with One Cord 
Shirring — Double Ruche with One Cord Shirring — Double Ruche with Two Cord Shirrings — 
Puff Ruche — Corded Puff Trimming — Variation of Plain Puffings with Cords — Box Plaiting 
with Corded Piping — Quilling or Side-Plaited Trimmings 

FOR the shirred trimmings given in these chapters the softest materials should be 
used. 

Plaited trimmings may be made of very soft materials or of materials with 
more body. 

Any of the materials may be cut double. 

Soft ribbons requiring no finish at the edges may be used effectively for these trimmings. 

Most materials for the ruchings and puffings may be cut bias or straight. 

Chiffon nhould always be cut lengthwise or crosswise, never bias. 

Silks and satins lie in softer folds if they are cut bias or crosswise. 

If the edges are to be frayed, the materials must be cut lengthwise or crosswise. Cross- 
wise is preferable, for the threads are closer and make a thicker fringe. 

If net is to be used with raw edges, it should be cut on the line of the straight threads 
which run lengthwise, or bias. You can easily determine the direction of these threads 
on the piece you are using by stretching the net a little in different directions. Net is 
more easily hemmed if cut as above, but for a double ruche it may be cut lengthwise, 
crosswise or bias. 

Different materials require different amounts of fulness for shirred ruches. A soft 
fabric such as chiffon requires three times the length of the finished ruche. Taffeta, 
messaline and such materials which have a little more body require only about twice the 
finished length. 

THE WIDTH OF RUCHES— On the single ruches you must allow from one-quarter to 
one-half inch for each cord, the amount depending on the size of the cord. If the edges 
are to be hemmed or rolled, sufficient allowance should be made for that finish. 

For a double ruche calculate the width of a single ruche and double the amount. 

CLEAN EVEN EDGE^ are important, especially if the ruche is to be frayed. The best 
way to get a good edge for strips cut crosswise or lengthwise is to pull a thread of the mate- 
rial. 

THE EDGE3 OF SINGLE RUCHES may be finished in different ways, depending on 
the material. Taffeta may be frayed (111. 331), pinked (111. 338), picoted (Chapter 25, 
page 119) or finished with tiny hems. 

Messaline and crepe de Chine can be frayed, picoted or hemmed. 

Chiffon may have its edges picoted, or rolled, and whipped tightly with fine stitches in 
the same or contrasting color. (Chapter 25. page 123.) 

Net may be picoted, hemmed with a same or contrasting color, or if it is a fine mesh, 
it can be cut in such a way that the edge needs no finish. 

STRIPS should be joined as neatly as possible. Some nets can be seamed with an 

137 



138 



THL NEW DRE.5S MAKER 




111.321 



over-and-over stitch, using Xo. 150 cotton; 
the joining can scarcely be detected. If 
this is not practical for the net you are 
using, malce a plain seam and trim the edges 
down to within one-eighth of an inch of the 
stitching. Roll the seam edges down to 
the stitching and whip them closely. 

Non-transparent materials may be joined 
in a plain seam for a double ruche. For a 
single ruche they should be joined with a 
tiny French seam. (Chapter 17, page 86.) 
This can be trimmed away under a frayed 
edge so that the frayed edge appears 3ontinuous. This work must be done very carefully. 

In cutting, plan the strips so that as few joinings as possible are required. (The direc- 
tions for cutting bias strips are given in Chapter 2, page 15.) 

FOR GATHERINGS, make a row of 
small running stitches. The stitches may 
be the same length as the spaces, or the 
sisacos may be twice the length of the 
stitches. Always begin by inserting the 
needle from the T\Tong side to conceal the 
knot. It is better to slip the stitches 
along on the needle and not remove it 
from the material. 

When the gathering is completed, re- 
move the needle and draw the gatherings 
up tight. Place a pin vertically, close to 




III 322. Position of Needle in 
Stroking Gathers 

the last stitch, and wind the thread severa' 
times around the pin in the form of an 8- 
(111. 321.) This holds the gathers firmly to- 
gether. 

IN STROKING OR LAYING GATHERS 
the work is held between the thumb and 
fingers of the left hand, with the thumb 
below the gathering thread. Put the side of 
the needle well above the gathering thread 





J^^M 




.324. Gaging or French Gathers 



111. 323. Two Rows of Gathers 

and press the little plait under 
the thumb, drawing the needle 
down. (111. 322.) 

Do not use the point of the 
needle, as it scratches and weakens 
the material. Continue entirely 
across the gathers, putting the 
needle under each stitch and hold- 
ing the plait firmly with the 
thumb. Stroke the material 
above the gathering thread as 
well as below it to make the gath- 
ers firm and even. 

TWO ROWS OF GATHERS 
are often used in dressmaking and 
do not need stroking. A skirt 
joined to a band, a sleeve set in 
a cuff or sewed into the armhole, 



APPLIE.D TRIMMINGS 



139 




sliould be gathered twice so that the gathers will 
stay in the proper place. 

The second row is made with the stitches 
directly in line with those of the first row and one- 
quarter or three-eighths of an inch below them. 
(111. 323.) If there is much fulness to be gath- 
ered, the spaces between the stitches may bo 
lengthened. 

GAGING OR FRLNCH GATHLR5 is a style of 

shirring generally used whe]-e a quantity of mate- 

T>s «■ 1 SI,- • .. "'■''' must be adjusted to a comparativelv small 

1.325. Simple Shirring /»,» .-j.-n \ rr^i ^-^ i . ,, - 

space. (III. 324.) Thestitehesinthiscasearemade 

evenly: long ones on the right side 
and short ones on the under side of 
the material. Each successive row 
of gathers has its long and short 
stitches parallel, respectively, -wath 
those of the preceding row. The 
threads are all drawn up evenly, 
and fastened at the ends. 

SHIRRING is made of successive 
rows of gatherings. It is used as a 
trimming. There are several dif- 
ferent kinds of shirring, the use of 
which must be determined somewhat 
by the character of the material and 
the style of the garment. Before be- 
ginning, it is best to mark the sewing 
lines with a colored thread to be 
sure to get the rows even. This 
thread can lie drawn out when the 
shirring is finished. 

A SIMPLL SHIRRING is shown in 
Illustration 325. The top edge is 
turned in and the first row shirred in 
close to the edge. The thread should 

be amply strong, with a good big knot at the end; for if the thread is weak and breaks, or 
the knot pulls through, the shirring will progress slowly, and the material will suffer 
unnecessarily in the working. 

Shirring can also be done very successfully on the machine by using the gathering 




Scallop Shirrings 




III. 328. Cord Shirring 



140 



THE NEW DRESSMAKER 



attachment. In that case it is 
especially necessary to mark the 
sewing lines before beginning, as 
the machine does the work so 
rapidly that one is more apt to get 
an irregular line. 

TUCK SH1RRING5 are pret- 
tiest made on the bias of the mate- 
rial. Shirr along the sewing Unes 
of the tucks through both thick- 
nesses of the material and draw up 
the fulness. (111. 326.) 

SCALLOPS OR SNAIL SHIR- 
RINGS are meant to be used as a 
band trimming. Make a narrow 
fold of the material, and run the 
shirring thread zigzag across from 
edge to edge. (111. 827.) As the 
work progresses, draw up the thread 
when the fold will acquire a scallop 
edge on both sides. If a wider 
fold is used, two threads may be 




Ml. 329. Simple Ruche 




'\'f -I'l'^^fl" 






III. 33 1 . Ruche of Frayed Taffeta 




111. 332. Double Ruche with One Cording 



111. 330. Three-Tuck Ruche 



run in close together. This will pro- 
duce a more even trimming and one 

that will be less perishable. 

CORD SHIRRING (111. 328) is made 
much like the tuck shirring. Tiny 
tucks are sewed in with a cord enclosed 
from the under side (See 111. 295, page 
130), and when the entire number of 
threads have been run in, draw up the 
fulness. 

A SIMPLE RUCHE can be made 
from strips of the material. Cut off 
the selvedge, for the selvedge is stiff and 
would prevent the material from making 
a soft ruche. Join as many strips of 
material as are necessary to make the 
ruche the desired length. Turn under 
one raw edge of the strip and fold the 
strip so that it will be double, with the 
seam at the center of the under side. 
(111. 329.) Gather the ruche through 
the center just inside the fold edge. 
(III. 329.) 




III. 333. Fluffy Double Ruche with Two 
Cord Shirrings 



A THREE-TUCK RUCHE is used 
when more fulness is desired than is 
given bj' a simple ruche. This is made 
by cutting the strips about seven inches 
wide. After joining the strips as before, 
fold them in thirds, bringing the two 
raw edges together three-eighths of an 
inch from the folds. Run a gathering 
thread through all the layers at one 
time. (111. 330.) 



APPLIED TRIMMINGS 



141 



wmmzmz- 






. 334. A Puff Ruche of Soft Salin Ribbon 




111.335- A Puff Trimmini^ 



A RUCHL OF FRAYED TAFFE.TA is shown iu Illustration 331. The silk is cut single 
and there is one cord shirring. 

A DOUBLL RUCHL WITH ONL CORDING. The edges of the material are folded 
over until they just meft at the center of the strip and are basted in place. The strip 
is then folded lengthwise thi-ough the center and a line of fine running stitches forms a 
tuck. (111. 332.) The cord may be inserted while making the tuck. (111. 332.) 

For two cordings the sewing of eaeh tuck should be about one-eighth of an inch from 
the center. If larger cords are used, the sewing of the tucks should be a little farther 
apart so as not to crowd them. 

A FLUFFY DOUBLL RUCHL WITH TWO CORD 5HIRRING5 is shown in Illustration 
333. To make this ruche jjerky, catch the material to the cord, along the back of the 
cordings, tacking it to the cordings. The sewing should be made by putting the needle 
in the material a little to one side of the tuck sewing, catching the cord and bringing 
it out on the opposite side. Take these stitches from one-quarter to one-half an inch 
apart. Very soft materials require less tacking than those having more weight and body. 

A PUFF RUCHL OF SOFT SATIN RIBBON is shown in Illustration 334. This is an 
effective ruche and may also be made of soft materials as well as ribbon. Cut the mate- 
rial enough wider than the width desired for the finished ruche so that when the edges 
are turned OA'er the raw edge «ill be included in the tuck sewing. 

A PUFF TRIMMING (III. 335) is attractive made of any soft material. It may be 
corded with as many cords as you like. 

A VARIATION OF PLAIN PUFFING is shown in Illustration 336. Two .sizes of cords 
and two widths of puffings make a very attractive trimming. In cutting your strips of 
material for this puffing allow- for the cords and for a seam along each edge. The strip.s 



i*U^4^»\A^tt0M.p^^.,nMfu0'^^^**tU*h. 



iiil^riiUiL/t^\\L 






i^^iiObkiM^tf AMil^«Mt«4^)*4^^<l 



111. 336. Variation of Plain Puffing 



142 



THE NE.W DRLS5MAKE.R 




A Puff f^ulfle 



of material for the puffing may be cut 
straight or bias as you prefer. Tack 
the inner cords along the back to the 
puffing material. The outer cords 
will adjust themselves. Different ar- 

^^ _ ,^^ rangements in the number and spae- 

^v| :~" ^"S of the eordings may be used. 

Bi " Puffings of this kind make most de- 

B§ ^~-^ lightful trimmings. 

fi§ V ,^ ^ A PUFF RUFFLE is made of strips 

Vti^ ■■ ^ J-'' — J of chiffon, etc., double the width of 

the ruffle desired, plus the two inches 
required for the heading at the top. 
Fold the chiffon double, bringing the 
two raw edges together on a Une one 
inch below the edge that wall be the upper edge of the ruffle. Turn under the upper raw 
edge and run in the gathering thread, using small stitches. (TU. 337.) 

A BOX-PLAITED RUCHE is shown in the process of making in Illustration 33S. The 
strips for the ruche may be cut bias or straight and in any width desired. The edges 
could be picoted or pinked. This ruche 
requires a little less than three times the 
finished length. 

The plaits should be basted (111. 338) 
and then machine-stitched through the cen- 
ter. (III. 338.) They should not be pressed 
flat but should be left to stand out from 
the stitching. 

A BOX-PLAITED TRIMMING JOINED Ht 3is. a liox-Pla,ted Ruclie 

TO A GARMENT WITH A CORD PIPING 

is shown in Illustration 339. The strips for the plaiting may be cut bias or straight. 
The outer edge of the plaiting may be pinked, picoted or finished with a very narrow hem. 

The cord piping and the unfinished edge of the plaiting are joined together in a plain 
seam. (111. 339.) The seam is then turned down flatly under the plaits and the plaits 
are pressed. 

A QUILLING OR SIMPLE SIDE-PLAITED TRIMMING is shown in Illustration 
340. The strips of material may be cut bias or straight and should be thi-ee times as long as 
the finished trimming. The outer edge of the quilling may be picoted, hemmed or pinked, 
or the quilling may be made double. 

The garment edge which the plaiting is to finish should be turned under the seam 
width and basted. (111. 340.) The plaiting is basted under this edge and sewed in 
position according to the material and finish of the garment. (111. 340.) 





-: — '^I^HH^ 



^^^s^sr^^fi)^ 



/ .. 



■ifiiiMli^ 




Ifl. 339. A Box-Plaited Trimming wilti a Cord Piping 



. 340. A Quilling or 5ide-Plaited Trimming 



CHAPTER 29 

SEWING ON BRAID. APPLIQUL EMBROIDERY, 
MARABOU AND FUR 

Flat or Tubular Braid — Soutache Braid — Applique Embroidery — Marabou — Fur 



SEWING ON FLAT OR TUBULAR 
BRAID — These braids are sewed from 
right to left. Fasten the braid on the 
right and hold it down ahead of you on 
the line where it is to be sewed. Bring 
the needle up so that it catches the 
lower edge of the braid close to the 
edge, insert the needle in the material 
as close to where you brought it out as 
possible. Take a slanting stitch about 
% of an inch long bringing the needle 
out tlirough both the material and braid 

close to the upper edge. Insert the needle in the material close to where you brought 
it out and take another slanting stitch ? s of an inch long, bringing the needle out through 
both the material and braid close to the lower edge. (111. 341.) 

A nan-ov/ braid is often used near an edge on waists and dresses to hold the hem or facing. 




ill. J4 1 . .iewini on f-|at or 1 ubular Braid 




III. 342. 5ewing on Soutaciie Braid Flat 



SEWING SOUTACHE BRAID — 

There are two ways of sewing on soutache 
braid. The simpler is to hold the braid 
flat over the line of the transfer and sew 
tlu-ough the center of the soutache tak- 
ing a very short stitch on the right side 
and quite a long one on the under side. 
ail- 342.) 

In using a design \\'ith a great many 
sharp turns it is better to sew the sou- 
tache so that it stands upright. (lU. 343.) 
Hold the braid ahead of you over the 
line of the transfer as before but hold 
the soutache upright instead of flat. 
Fasten the braid securely at the right, 
and bring the needle up tlirough the 
material just catching the lower edge 
of the braid. Insert the needle as near 
as possible to where you brought it out, 
and take a stitch }4 of an inch long. 
Bring the needle out through the mate- 
rial catcliing the lower edge of the 
braid. (111. 343.) 
Braiding makes a very effective trimming and the work goes quickly so that even when 
deep bandings are in fashion one can have a handsome costume with a comparativelj- small 
amount of work and expense. All the newest and smartest transfer designs for braid- 
ing wall be found in NEEDLE-ART while the DELINEATOR and BUTTERICK 
FASHIONS show the correct use of braid trimmings whenever they are in style. 

143 




. 343. Sewing on 5outache Braid Upright 



144 



THE NEW DRESSMAKER 




1)1. 344. Applique hmbroidery 



APPLIQUE EMBROI- 
DERY — Shaped pieces of eon- 
tva sting color can be appli- 
qued on waists, dresses, etc., 
as a trimming. Usually the 
pieces are of the same material 
but in different color, b\it in 
some cases you can also use 
contrasting materials. 

Some of the di-esses etc., 
which are trimmed with 
squares, diamonds and circles 
of a contrasting material 
have a little embroidered 
motif in the center of each 
applied piece. 

Quaint figures of Colonial 
ladies. Oriental children, etc., 
are used on di'esses and 
waists. Some of these are 
applied from contrasting ma- 
■ terial. 

Cut the pieces in any shape 
and sixe that you fancy and 
tm-n under the edges J^^ of an 
inch. Be very careful not to 
stretch them. Baste them 

to the garment. The edges may be blanket-stitched to the garment (111. .344-B) , felled down 
(HI. 344-C) or fastened with small nmning stitches (ill. 344-A). The blanket-stitching 
takes the most time but it is also the most effective. 

SEWING ON MARABOU — The marabou must be sewed to a double strip of very thin 
material the color of the marabou. You can use China silk or fine lawn. The width of the 
sti'ip should be regulated by the width of the marabou. Thi'ee-fourths or one- half an 
inch is about right when folded. Fold the strip of material lengthwise with the edges lap- 
ping just a little. Lay the marabou flat 
on the table with the least attractive side 
uppermost. There is always one side 
that is a little better than the other. Be 
sui-e the marabou is flat and that there 
is no twist to it. Lay the strip over the 
stem of the marabou with its raw edges 
next the stem. Pin it in place at in- 
tervals and then sew it with stitches 
about 34 an inch long. (.111. 345). Take 
two stitches in each place so that they 
will hold firmly. (111. 345). 
In sewing the marabou to the garment sew both edges of the strip with running stitches. 
The strip enables you to handle the marabou easily, keep it even, and prevents it from 
tmsting. 

HANDLING FUR— Pelts should always be cut with a knife from the wrong side so 
as not to cut the hair. 

.Toinings should be made so that all the hair runs one way. 

Fur should be sewed with an ordinary short needle and strong cotton tlu'ead. Num- 
ber 30 cotton is about the right weight. 

Lay the pelts edge to edge and sew the edges together -with an overhand stitch. (Chap. 
16, page 82). Be careful to sew through the pelts only, without catching the hair in the 
sewing. The hair can be pushed through to the right side with the needle and after the 
sewing is finished the fur can be brushed gently to make the hair lie smooth. In this 




1.345. Sewing Strip lo Marabou 



5LWING ON THE BRAID 



145 




III. 346. Finishing the EdSes of Fur with Braid 
or 5eam Binding 



way j'ou will conceal any sign of the joining. 

After the joining is made you will find 
on the \\Tong side a ridge-like seam. This 
seam should be dampened and the fur 
should be stretched out smoothly on a flat 
board and tacked to it. 

The fur should be left on the board until 
it is thoroughly dry which generally takes 
about twenty-four hours. In the short 
haired furs the hah- side of the pelt can be 
laid next to the board, but in heavier furs 
the pelt is laid face down. 



SEWING ON FUR — In most eases the edges ot fur must be finished with braid or 
seam binding the color of the fur. Overhand the edge of the biaid or seam binding to 
the edge of the fur (111. 346), turn it over the edge of the fur and eat-stiteh it to the 
pelt as illustrated. (lU. 346.) Sew it on to the garment thiough the braid or .seam bind- 
ing using a slip stitch. 

This is the best way to handle most furs. In the case of a fur in which the pelt is not 
the same color as the fur itself as in undyed furs, the binding is absolutely necessary. 

When the pelt is the same color as the fur, as in dyed furs or in white furs and the 
hair is long enough to cover the edge of the pelt nicely, this braid or seam binding may 
be omitted and the sewing done right through the pelt. In this ease sew the edge of the 
pelt to the material with a hemming stitch. This is of course a simpler method and it 
is the best method to use in sewing fiu* to transparent materials for the binding or braid 
adds to the weight of the fur. 



CHAPTLR 30 

DARNING AND MLNDING 

Reenforcing — Running Darn — Woven Darn — Broken 5titch — Drop Stitch — Set-in Piece — 

Underlaid Piece Darned In— Stoting — Mending Tissue or Tailors' Tissue — Triangular 

Tear — Patcties— Flannel Patcti — Hem Patch — Overhanded Patch 




DARNING is a simple remedy for many cases of prevention as well as cure. A few 
general directions will apply to darning in all its various phases. Neatness and the 
careful selection of materials most appropriate for the work are the chief require- 
ments for successful darning. Whether the material to be darned is cotton, sTk or wool 
the darning thread should correspond in thickness and color 
to the thread in the fabric, and the needle should be neither too 
coarse nor too fine. 

FOR RE.LNFORC1NG worn places before the hole has come 
through, particular care should be taken to make the work as 
inconspicuous as possible. A thread or raveling of the material 
will do better than one of sewing silk, as the latter, no matter how 
well matched in color, will be sure to have a luster that will bring 
the stitches into prominence. The dra-rni thread need n t be 
long; short ones can be worked in just as well. 

Baste the part to be mended over a piece of medium stiff, 
glazed paper, or table oilcloth. Use a needle as tine as the thread 
will permit. Darn back and forth with as fine stitches as pos- 
sible, following the grain of the goods and keeping the threads 
loose .so that they will not draw. (111. 347.) The ends of the 

threads are not fastened, but are cUpped oS close to the gar- 
ment when the work is finished. 

A RUNNING DARN is used when the garment is worn too 
thin to be mended satisfactorilj' by reenforcing. Insert the 
needle a short distance from the edge of the worn or thin part, 
and parallel ^^^th the thread of the weave. Run it under a few 
threads and over a few, to the opposite side of the worn place. 
(111. 348.) Returning, run the needle over the threads that were 
taken up, and under those over which it passed in the first 
row. Continue the process until the whole thin surface has 
been given a new body. In Illustration 348, white thread was 
used in order to show the stitches. 

When the part to be mended requires still more body than 
can be given by the running darn, a piece of the material may 
be laid on the wTong side, and while applying the running 
darn, this piece is occasionally caught up by the needle to 
hold the piece securely in position. 



111. 347. Reenforcing a 
Worn Place 




A Running Da n 



A WOVE.N DARN is necessary when a hole has been worn through the material. The 
threads in this case are woven both lengthwise and crosswise with the weave of the gar- 
ment. (111.349.) Baste the part with the hole over a piece of paper or table oilcloth taking 
care not to draw it out of shape nor to let it bag. Do not trim ot the frayed or worn edges. 
The unevenness around the edge, which these frayed ends create in the process of darning, 

146 



DARNING AND MLNDING 



147 



helps to make the darned place less conspicuous. The length- 
wise threads are run in first. Starting well in from the edge 
of the hole at one side, take up a few small stitches, cross over 
to the opposite side and again run a few stitches into 
the edge. Keep the threads taut, but not tight enough to pull. 
Returning, leave a tiny loop at the turning-point, to allow for 
shrinkage of the darning threads. Continue back and forth till 
the hole has been covered. Now begin the crosswise threads in 
the same way; darn over and under the lengthwise stitches, 
alternating with each return thread. (111. 349.) The frayed 
edges are caught in the weave as they happen to come, and are 
firmly secured between the latticed threads. (111. 349.) 



lU. 34y. \\ ■.. II IJurii 



STOCKING^ are darned on the right side to keep a smooth surface next the foot. 
A darning-egg or ball, held in the left hand, is shpped under the hole, with the stocking 
stretched smoothly, but not tightly, over it. The darning is done with the right hand. 
In a woven darn the darning tlu-eads in a stocking usually run up and down with the 
rib, and then across, but when the hole is at the knee or heel, where greater elasticity is 
desired, the threads are run across diagonally. 

A BROKLN STITCH or two in a stocking can be easily 
remedied if attended to at once. With a silk thread, pick 
up the broken stitches and draw the edges together, and by 
a web-like weaving close the hole. 

A DROPPED STITCH is more easily remedied by the 
use of a crochet-hook than by darning. Slip a fine c ochet- 
hook through the little loop at the lower end of the hole; 
catch up the first thread and pull it through the loop. 
Continue until every dropped tliread has been caught, 
then securely fasten the last loop at the end with a few 
se-ndng stitches. Illustration 3.50 shows the position of the 
crochet-hook picking up dropped stitches. 




111.350. I'lckingLpd 
Dropped Stitch 



TO SE.T IN A PIE.CL WITH THE BALL STITCH is a 
way of extending the usefulness of the stocking when 
the hole is too large to be neatly darned. For this 
purpose keep on hand the leg portions of stockings 
of which the feet have been worn out. 

Baste the part to be mended over a piece of paper 
and trim off the ragged edge. Cut a piece from a 
stocking-leg, matching it in color and te.xture, with 
the ribs running like those in the stockiug, and con- 
forming in shape to the hole, but a trifle smaller. 

Baste 





in. 351. 



Setting a Piece in a Stocking 
with the Ball Stitch 



III. 3dJ. An Underlaid Piece Darned In 



this piece 
into posi- 
tion on the paper and join the two edges, 
the needle passing in close stitches, alternat- 
ing, over one edge and under the opposite, 
until the piece has been securely and neatly 
worked into position. (111.351.) The stitch in 
this method will be seen to form a kind of 
lacing, and is called the "ball-stitch". It must be 
done evenly and closely, but not tightly enough 
to raise the edges. (111. 351.) 

AN UNDERLAID PIECE DARNED IN 
is a better method of closing a hole when 
the stocking or garment is very loosely woven 



148 



THLNLW DRESSMAKER 



or knitted, in which case the use of a darning-egg would give it a baggy appearance. Do 
not trim off the ragged edges. Cut the underlying piece a trifle larger than the hole, l)ut 
conforming to it in shape and matching it in color and texture. Baste the piece on the 
paper first, and then lay the hole over it. Or the torn piece may be stretched over an em- 
broidery hoop and the patch basted to it. Run the darning-needle back and forth (111. 
tion 352), over and under the lapped edges, closely weaving them together, keeping down 
all the loose ends. Illustration 352 shows the right side of the finished darn, a black 
thread ha\'ing been used in the illustration to show the stitches. 





A Cut in Heavv Cloth 



111. 354. Sloting with a Hair 



5TOTING is a process of mending much used by tailors, especially on closely woven 
or very heavy cloth 
that does not fray. 
The first illustration, 
Illustration 353, shows 
the cut, and in Illus- 
tration 354 is shown 
the position of the nee- 
dle and thread in the 
process of stoting. Use 
either a thread drawn 
from the cloth, or a 
hair to do the stoting. 
The part to be 

mended is basted smoothly over a piece of paper. The needle is inserted about half an 
inch from the torn edge, and run between the threads of the cloth, across the cut, to half 
an inch on the opposite side, and drawn through. Reinserting it, run the needle back on a 
somewhat slanting line and continue until the cut has been closed. Then repeat the 
same process, running the threads in the opposite direction. When pressed, this mending 
can hardly be noticed, but stoting can only be done over a clean cut or tear. On material 
that is not thick enough for the needle to pass between the weave, it must be done on the 
wrong side as lightly as possible. 

MENDING TISSUE, or TAILOR'S TISSUE, as it is sometimes called, is a great con- 
venience in cases of awkward rents or tears where patching would be undesirable. It is a 
semi-transparent substance, resembling the thin rubber used in dress shields. It melts 
under a hot iron and acts like a glue, holding the torn fibers together. 

A TRIANGULAR TEAR should be mended im- 
mediately, before the edges have had a chance to fray. 
The torn part of the garment should be laid, WTong 
side up, over an ironing-board. Push the torn edges 
together, bringing them as nearly as possible to their 
original position. Lay a square piece of the mending 

tissue large enough to 

completely cover it over 

the tear and a piece 

of the cloth over the 

tissue. Baste the cloth 

piece in position, but 

do not let the basting 

threads run through 

the mending tissue or 

they can not be easily 

drawn out. Then run 

a hot iron over it all 

several times until the 

two pieces and the ragged edges are nicely stuck together. 

Cut away all superfluous material around the edges. 

Illustration 355 shows a satisfactory result of this method 
. 356, A Piece Set In of mending on the right side of the material. 





III. 355. A Rent Repaired with 
Mending Tissue 



DARNING AND MLNDING 



149 



A PATCH may also be set in with mendiog tissue in cases where it is undesirable to 
have any stitches showing. The hole is trimmed to a square or oblong shape, and a piece 
cut the same shape, but a seam's width wider all around. Lay the garment over an 
ironing-board, as directed above, and, between the edges of the hole and the lapped edge of 
the patch lay strips of the mending tissue. Be careful not to have any of the tissue 
extending beyond the torn edge on the right side, as it -n-iU make an ugly mark after being 
pressed. Illustration 356 shows a hole neatly mended by this method. 



A PATCH is generally used for mending 
flannel or heavy woven underwear, particu- 
larly if the garment is too much worn to war- 
rant the time and work necessary for a careful 
darn. 

A FLANNEL PATCH is a piece of the 
material basted on the wrong side of the worn 
or torn part and catch-stitched to the gar- 
ment tvith small stitches all around the edge. 
The worn place, or the ragged edge of the hole, 
is then cut away from the right side, and the 
edge catch-stitched all around in the same 
manner. (111. 357.) 

A HEMMED PATCH is used— unless the 
hole is so small that it can be neatly darned — 
for mending material that requires frequent 
laundering, such as muslin underwear, bedding 



W5=\ 




HI. 35 7. Riahl Side of Flannel Patch 




111.358. 



or household linen. If the material is striped or figured, the patch should be cut so that 
the lines will match. Pin the patch into position on the underside of the piece to be 
mended. Crease a seam all around and baste it down. Kow cut out the worn part, 
allo\^-ing a narrow seam at the edge. Clip the edge a trifle at each corner, turn in the seam, 
and baste it down. Then with fine stitches sew the patch down all around on both sides 
of the material. (Ills. 358 and 3.59.) 

AN OVERHANDED PATCH is used on material that is seldom washed, and where 
the raw edge on the xvTong side is not objectionable. The sewing in this patch is not so 
noticeable as in the hemmed patch, for it has but one line of stitches. In cutting the 
patch be sure to match the stripe or figure. The piece should be large enough to cover 
the hole well when it is basted over it with tailors' tacks. (Directions for tailors' tacks 
are given on page 85.) When the patch has been basted and cut apart, it will be seen that 



150 



THE NEW DRESSMAKER 



the exact outline of the patch has been marked on both the garment and the patch. The 
uneven edges are trimmed away lea\'ing a narrow seam. (Ilhistrations 360 and 361.) 
Notch the corners of the hole diagonally to the line of tacks, and trim off the corners of the 
patch. Turn the seam edges of both hole and patch toward the wTong side on the line of 
the tacks and baste together. Then with small overhand stitches sew the patch in 
securely, being careful during the whole proceeding to keep the warp and woof threads 
of the material straight at the joining edges. Illustrations 360 and 361 show both sides of 
the patch after it has been well pressed. 

Clothing, household hnens, etc., should be darned or mended at the first sign of wear. 
Immediate attention often saves actual holes by reenforeing worn places, and the amount 
of mending will be perceptibly reduced. Mending should be done before the articles are 
washed, for in washing the worn place is likely to give and become a hole. 




111. 360. Selling in an Overhanded Patch 




HnB8 
llllll 



111. 36 I . Wrong Side of Patch 



111. 362. Completed Patch 



CHAPTER 31 

RLMODLLING 

Materials — Dyeing — Cleaning — Remodeling Waists — Skirts — Coats — Suits 
Children's Clothes — Boys' Clothes 

AT THE beginning of every season when you are planning your clothes, look over 
, your wardrobe and decide what you have that is worth remaking and will fill some 
definite place in your outfit. Do not make over any clothes simply because you 
have them. If you are not going to need them for the present brush them tlioroughly and 
put them away carefully until you want them. 

Things that are genuinely worn out should be tlirown away or given to the Salvation 
Army. Do not try to make them over for they are not worth the time and effort. 

MATERIALS — Wool materials that are too shabby to be made over can often be used 
for interlining Winter coats and jackets. 

Wool materials and some silks that are shabby on the outside but comparatively fresh 
on the inside can be turned if the wTong side is nice looking. It may not be exactly like 
tlie right side but if it is presentable it can be used. Satin, plush, velvet and silks that 
have a design on one side only can not be turned for the wTong side is not wearable. 

Plush and velvet can be steamed to freslien them, remove the wt nkles and raise the 
nap. Silks and satins can be steamed to remove bad wrinkles. (Chapter 6, page 32.) 

Small pieces of material can often be combined to make hats for children, or if suitable 
used for collar and cuff facings. 

When combinations of materials are in fashion remaking is a simple matter. Wool 
materials can often be combined with satin, taffeta, foulard, or with plaid, stripe or check 
silk or wool materials. Silks, satins, plushes and velvets can be used with Georgette crepe, 
chiffon, silk voile, lace, or tulle. Plush and velvet can also be combined with silk and 
satin. Gingham can be used \vith chambray, and the heavy cotton and Unen materials 
with batiste, handkerchief linen, etc. In Summer materials one can usually combine 
white with a color, or a plain color with plaid, clieck, stripe or figured material. 

If one feels inchned to take a little trouble one can completely disguise a last year's 
suit or dress by changing it to another color. 

DYEING is a very simple thing, but there are certain hard and fast rules in regard to 
it that must not be disregarded. In the first place you can not dye a silk or wool material 
with a dye intended for cotton and Unen. Neither can you dye cotton and linen with a 
silk and wool dye. In the second place, you can't change dark colors into lighter ones. 
In the third place, the material must be prepared carefully for tlie dyeing. If there are any 
grease spots or stains they should be removed as thoroughly as possible. (Chapter 34.) 

Afterward the material should be washed for two reasons. The first is, that if the 
material is put into the dye soiled, the dirt will mingle with the dye and the result -mil 
be muddy instead of bright and clear. The second is that as much of the old dye should 
be taken out or "discharged," as it is called, as possible. Otherwise it will be impossible 
to predict how the mi.xture of the two dyes will turn out. 

Cottons and silks can be washed in soap and boiling water, but it is not safe to use 
soap to any great extent on wool materials, as it softens the wool. Boil the materials 
about half an hour, changing the water as it becomes discolored. Keep up the washing 
until the water remains clear — a sure sign that all the dye has been discharged that is 
likely to do any harm. 

It is best to dye the material whUe it is still wet from the washing as it absorbs the 

151 



152 THLNLWDRLS5MAKLR 

(Jyo more readily and more evenly in that condition. Bo sun; to follow the directions 
given with th(i dyo you use. A good reliable dye eonipound will be accompani(;d by 
oxi)lii'it directions, which you must take care to follow. You must be especially careful 
in picking out a dye that will suit your matcirial. White, of course, can be dyed any 
color. Palo shades can be dyed darker or changed into other slightly deeper colors. 
A material of one color dyed with a dye of a second color will emerg<! from t)w fray an 
entirely different shade from either. For instance, if you dye a yc^Uow material with a 
light blue dye, you will get green; while the same light blue over light red makes purple, 
and ov(;r light green makes peacock. A dark blue dye over brown makes navy blue, and 
over yellow, bottle green. A brown over blue maki^s dark brown; over green makes 
olive brown; over red mak<;s seal brown. There are dozt^ns of combinations and varia- 
tions of colors that one can bring out by a clever combination of dy(' and material. One 
should go back to the old safeguard of experimenting first and doing the actual business 
afterward. 

After you've dyed your material, take it out of the dyeing fluid and hang it up until 
it is nearly dry. Then rinse it out in clear water to prevent its crocking. If a material 
has been dy(!d black, do not rinse until il has dried thoroughly. It will leave it, a better 
color. If you do not dye your material, clean it carefully. Directions for removing spots, 
stains, etc., are given in Chapter 34, pages 157—1.59. 

REMODELING should be done with as much care and interest as you would give 
to making a iiev.- dress. Otherwnse your dress, etc., will look "made-over" and you will 
be dissatisfied and half ashamed of it. If you do it skilfully you will enjoy the remade 
dress as much as if it were really notw. 

Before rimiodeling look over the Delineator and the latest editions of Butterick 
Fakiiions and consider your dress from the standpoint of the new styles. See exactly 
what il will nc^ed to bring it up to date. It must have the right sleeve and collar and the 
skirt must be the correct width and length. The waistline; must come at the right place. 
Don't vv<!ar a high, Kinpire waistline when a low or normal waistline is the vogue. Don't 
wear a belt that gives you a piiicli(;d-in waist when a wide waist is in fashion. 

Be sure that the collar is not only the right size and shape but is absolutely fresh. 
Collars g<it hard w(;ar and a collar that is still good style might be worn and 
shabby. It should be replaccid. The same thing is true of chemisettes, undersleeves, 
culTs, (;tc. 

If th<i dress is to be entirely remodeled, rip it apart with a sharp knife or pointed scissors. 
Do not stretch the material, esjjecially at the necrk and armholes. Brush the seams 
carefully, and remove all clipped threads. If the material has changed color, use it on 
the reverse side if |)()ssible, even if the weave is slightly diffen;nt. 

Il should be cleanetl if necessary and thoroughly pressetl so that it can be cut exactly as 
if it wen; a new material. 

After the material has been thoroughly freshened — washed, pressed or dyed— lay it 
out on the new jiattern and .see if it requires piecing. If piecing is necessary, make the 
seams fall in places where they do not show or when- they can be covered with trimming. 

IN MAKING OVER A WAIST it is sometimes necessary to use new material; but 
wlu;n chemi.seUo;s, yokes and half-sleeves are in fashion, you can use; net, lace, chiffon, etc. 
In remodeling a waist or dross, put it on a bust form and stuff out the sleeves with tissue- 
l>aper. Look it over to s(;e where il requires alteration. 

Put the lining on, and then drape the outside over it after you have cut it according 
to your ])atl(;rn. By using fancy triniming-pieoes, collars, yokes, etc., you can almost 
always n'uiodel a waist so that the jjiecing will n(;ver show. Lace or net for yok(;s, 
chemisettes, (;tc., (;an be dyed the color of the dress either at home or at a regular dyeing 
eslablislim(;nt. Lace can be dipped in tea to give it a rich cream color that can be made 
lij;lilcr or darker according to the strength of the tea. 

REMODELING A SKIRT is an easy matter if the new pattern is narrower than the 
old skirt. In that case it is only a question of recutting; but if the pattern calls for 
mon' material than you have in the skirt itself, you will liav<' to do some piecing or com- 
bine with new material. Braid<'d bands covering the skirt seams are an excellent way 
of increasing the width of a skirt. Or you can raise the skirt at the waistline, refit it, and 



REMODELING 153 

add to it at the bottom by a band or a. fold. Or it may be pieced at the bottom and the 
line of pie(;ing covered by wide braid, bias bands, etc. 

Linen or Pique Skirls can often be lengthened by bands of embroidery insertion or by 
bias bands of the material. These sldrts are very apt to shi-ink around the hips. They 
should be ripped from their belts, raised and refitted. They will have to be lengthened. 

COATS — Coats should be remodeled by an up-to-date pattern. If they require piecing, 
try to let it come at a seam and cover it with a stitched or braided band. 

Coats of fur fabrics that have become shabby can often be cut down into coatees when 
they are in fashion, or into children's coats. When they are too badly worn to remake in 
that way there are often unworn portions that can be used for neck-pieces and muffs, or 
for collar and cuff facings for a coat or suit. 

Suits are apt to wear out in the skirt first. In a suit of a plain colored serge, gabardine, 
twill, veloiirs, taffeta, satin or linen, a new skirt can often be used, made of the same mate- 
rial in a plaid, check or stripe. If the suit material harmonizes with the jacket you will 
have a very smart-looking costume. The great French dressmakers frequently make 
new suits in combinations of this kind. Sometimes the sldrt material is used for collar 
and cuff facings on the coat. 

REMODELING FOR CHILDREN'S CLOTHES— Quite frequently it is easier to cut 
down a coat suit for one of the children than to remodel it for the mother. But do not 
use a material that is old and somber for a child, -nathout relie^^ng it by a trimming that 
is bright and youthful-looking. A black-and-white pin-cheeked wool or a dark serge 
is apt to make a dull frock for a little girl, but if it is trimmed with bands of contrasting 
material in a suitable color it becomes childish-looking and pretty. 

CHILDREN'S CLOTHE_5 — Children grow so fast that the problem of remaking 
generally includes lengthening and enlarging. 

Oue-piece di-esses can often be lengthened by dropping them from a yoke which gives 
them new width in the shoulders and also gi\es them new sleeves. 

Skirts can be pieced under tucks, folds, bands, flounces, etc. They can also be dropped 
from an Empire waistline to a normal waistline or thej' can be lengthened by a band at 
the bottom. When middy blouses are worn over a skirt, the skirt can be pieced at the 
top to lengthen it. The blouse wiU hide the piecing. 

Frequently children's dresses can be made into jumper styles. New blouses will give 
new sleeves and new ^ridth tlu'ough the body. 

In making over half-worn garments into presentable and at the same time durable 
clothes for boys, such as suits, reefers, and overcoats, a tailored finish is the first require- 
ment. It means neat work, even stitching and careful pressing. For the pressing you 
wiU need hea-i'j' irons, evenly heated, and a piece of unbleached muslin that can be 
dampened and laid o^'er your work. 

In ripping apart the old coat or suit that is to be remodeled for your little son, notice 
carefully all the small de\ices of interlining, canvas and stitching that the tailor used 
in making the garment. You can repeat many of them in your o^^-n work. If j-ou use 
the old canvas and find that it has grown limp, you can restiffen it by dampening it 
thoroughly and u-oning it ^^^th a hea^^' iron thoroughly heated. Full directions for 
making boys' trousers are given in Chapter 36, "Boys' and Men's Clothes," and Chap- 
ter 22, "Pockets." Chapter 12, on "Coats," will give you the additional information 
.you will want for finishing the jackets or o\'ercoats. 



CHAPTER 32 



PRL55ING 



Irons — Ironing Board — Sleeve Board — Tailors' Cushion — Steaming — Pressing Plaits 



G 



OOD PRESSING is a very important part of dressmaking and tailoring. Special 
boards and tailors' cushions may be made at home or bought from any dress- 
makers' supply house. 



IRONS. You should have either an electric iron and two ordinary irons, or else three 
ordinary irons. The two e.xtra irons are used to hold the third in an inverted position in 
steaming velvet. An eight-pound smoothing-iron is the most satisfactory type for pressing. 



IRONING-BOARD. 




Skirts and coats can be pressed on your long laundry ironing- 
board or on your sewing-table. Seams 
should be pressed over the curved edge of 
an ironing-board so that the seam edges 
wiU not be marked on the garment. 

A SLLLVL-BOARD which can be used 
for sleeves and short seams can be made 
from a board two or three feet long, and 
III. 36J. The Sleeve-board tapering from five or si.x inches in width 

at one end to three inches at the other. 

(111. 363.) The ends and edges should 

be rounded and the board should have 

an inner covering of flannel or a similar 

wool material, and an outer cover of 

smooth cotton cloth. (111. 363.) 

A TAILORS' CUSHION is used for 
pressing darts arid curved seams. (111. 
364.) It is ham shaped and is stuffed 
tightly with cotton rags. Cut two pieces, 
eighteen by fourteen inches, making 
them narrower at one end. (111. 364.) 
Round off all the edges. Stitch the seam 
with a close stitch. Seams should Vie 
pressed over the tailors' cushion so that 
the seam edges wiU not be marked on the garment. 

In opening seams, dampen the seam, if the material will permit it, and press slowlj', 
bearing down heavily on the iron. Very little dampness should be used on cashmere, as 
it flattens the twill and spoils the te.xture. Little or no dampness should be used on silk. 
A cloth, well wrung out of water, may be used on these materials, and their seams may 
be dampened slightly. 

Velvet, velours and duvetyn must not be pressed, but should be steamed so as not to 
injure the nap. 

To steam velvet, etc., heat an iron and place it face up between two cold irons an-anged so 
as to hold the hot iron firmly. (lU. 30.5.) Lay a damp piece of muslin over the face of 
the iron and draw the velvet over the muslin. The steam will have the effect of pressing 
the velvet without hurting the pile. Seams can be opened in this way, and this method 

154 




L 364. The Tailors* Cushion 



PRESSING 



155 




III. 365. 



The Proper Way to Open Seams 
in a Velvet Coat 



can be used on velvet, plush, veloiu-s, duvetyn 
and materials with a high nap, satin and silk. 

Velvet may be mirrored or panned by pass- 
ing an iron over the surface of the velvet, iron- 
ing with the nap. After velvet has gone through 
this process it can be pressed as much as is 
necessary. 

Nearly all pressing is done on the WTong 
side. Suitings and heavy cloth may be pressed 
on the right side by steaming. Wring out a cloth as dry as possible and lay it over the 
place to be pressed. Have the irons hot and press firmly until the cloth is nearly dry. 
Turn the garment to the wrong side and press until thoroughly dry. 

The shine which sometimes comes in pressing may be removed by placing a dry cloth 
over the shiny place. Then wring out as dry as possible a second cloth which has been 
thoroughly wet. Place it o\'er the dry one, and with a hot iron pass hghtly over the spot. 
If the material has a nap requiring raising, the place may be brushed with a stiff brush and 
the process of steaming repeated. 

Many fabrics retain the imprint of the basting-thread under heavy pressing. For 
such material it is necessary to give a light pressing first, removing all basting-threads 
before the final pressing. 



PRESSING PLAITS IN A SKIRT OR DRESS. Turn the skirt wong side out and 
slip it over an ironing board. Pin the top and bottom of the skirt to the board taking 
care that the plaits he perfectly flat underneath. In wool and cotton materials a sponge 
cloth may be placed over the skirt and pressed thoroughly until the cloth is dry. This 
method creases the material well and the plaits will stay in position for a long time. 

In silk material press the plaits with an iron that is not too hot. Afterward the iron 
may be run under the plaits to smooth the part underneath. Slip the skirt off the board 
and remove the bastings. 

When a plaited skirt is made of washable material it is not difficult to launder if one 
goes about it in the right way. The lower part of the skirt should not be pressed out 
flat, but each plait as it is pressed from the stitched upper portion should be laid in plaits 
all the way to the bottom of the skirt or dress, smoothed out and arranged with the hand, 
and then pressed into position. Afterward the iron may be run under the plaits to smooth 
the part underneath. 

In laundering or pressing a skirt you wiU reaUze the value of shrinking the material 
and following the correct grain hne of the weave. 



CHAPTLR 33 

THE CARL OF THL CLOTHES 

Wash Clothes — Woolen Clothes— Brushing— Use of Hangers — Bag Covers — 
Winter Clothes— White Clothes 

CARL OF THE CLOTHL5. All clothes should be taken care of as systematically 
as possible, as their period of usefulness depends entirely on the way they are treated. 

LINGERIE AND WASHABLE WAISTS AND DRESSES should he mended before 
they go to the laundry. A small hole will become a large one in wasliing, and not only 
is the work of mending doubled, but the injm-y to the garment is frequently irreparable. 

WOOLEN CLOTHES. Dresses, suits, coats, skirts, etc., should be brushed regularly 
and watched closely for such small matters as loose buttons, frayed skirt edges, missing 
hooks and eyes, and soiled collars or necks. 

HANGERS. Dresses and waists should be kept on hangers. Coats should never 
be left Ijing carelessly over chairs, and should never be hung up by the collar or arm- 
hole. They should be kept on hangers when they are not in use so that their necks and 
shoulders will not lose their shape. 

BAG COVERS. Dresses and waists if made of light, perishable materials should be 
slipped into great bags of silkolinc to keej) them from the dust. The bag should be as 
long as the waist or dress. If one has plenty of closet room, it is much better to keep 
one's evening dresses hanging up in bags than to lay them in chests or drawers where they 
can not fail to become badly vsTinkled. 

SKIRTS should not be kept on wooden hangers, as they are Ukely to become stretched 
at the hips. Small strips of tape should be sewed inside the waistband of each skirt — 
one on each side, and an equal distance apart. The sldrt should be hung by these hangers 
on two hooks placed just far enough apart to keep the belt taut. 

WINTER CLOTHES should be brushed and cleaned and then put away dxu-ing the 
Summer months with plenty of gum camphor, moth-balls or some other safe moth pre- 
ventive. 

SUMMER CLOTHES should be put away clean and packed as carefully as possible, 
so that they will not need pressing when they are wanted again. Sheets of blue tissue- 
paper can be put between the folds of white dresses to prevent them from turning yellow. 



CHAPTER 34 

CLEANING 

Cleaning Woolens — Silks — Velvet — Black Lace — White Lace — Grease-Spots — Machine-Oil 

Stains — Blood-Stains — Fresh Ink — Copy or India Ink — Iron Rust — 

Fruit Stains — Mildew — Paint — Chewing-Gum 

CLEANING can frequently be done at home with very Uttle trouble and expense. 

TO CLEAN WOOLEN GOODS, the simplest method is washing in warm water and 
soapbark. Get ten cents' worth of soapbark and pour over it two quarts of boihng 
water. Let it stand until the strength is taken from the bark, strain, and pour into a tub 
of lukewarm water. Let the goods stand for half an hour in the suds, then rub well and 
rinse in another water of the same temperatui'e to keep the goods from shrinking. Press 
on the wrong side before it is thoroughly dry. Experiment first with a small piece of 
the material to be sitre that it does not change color or shrink badly. 

FOR SILKS, mix six ounces of strained honey and four ounces of a pure soap with 
one pint of pure alcohol. 

Lay each piece of silk flat on a table or marble, and with a brush cover the silk with the 
mixtm-e, first on one side and then on the other. Brush the silk as httle as possible and 
always straight up and down. Dip the silk in several tepid rinsing waters, the last one 
mixed with a little honey. Do not wring the silk, but hang it up, and when half-di-y iron 
with a cool iron on the wrong side. 

BLACK SILK can be freshened by sponging with strong black coffee, or with glove- 
water made by boihng an old black Idd glove in water for some time. 

A French method of cleaning tjlack silk is to sponge the silk on both sides with spirits of 
wine, and then iron on the wrong side with a piece of muslin between the silk and the iron. 

Ribbons may be cleansed in the same way and rolled smoothly over a bottle or round 
stick to dry. 

VELVET is cleaned by steaming. First brush the velvet thoroughly with either a soft 
or stiff brush until all dust and lint are removed. It is better to use a soft brush if the 
velvet is not too chrty. 

If a milliner's steaming-box is at hand, invert a hot iron in the box and cover the face 
of the iron with a good-sized piece of muslin which has been thoroughly wet. This 
produces steam, and the muslin must be moved along as it dries. The velvet is held -ndth 
its wrong side against the mushn and brushed carefully with a soft brush until the pile of 
the velvet is raised. Always brush against the nap. The pile may also be raised by 
hokUng the velvet tightly over a pan of boihng water. 

FOR BLACK LACE_5, an old-fashioned cleaning mixture is made by boUing an old 
black kid glove in a pint of water until half the water has evaporated. Strain, and, if 
necessary, add a Uttle cold water. After brushing the lace, dip it up and down in the 
liquid. Then roll it over a bottle, or pin smoothly over a covered board to dry. 

WHITE LACE may be washed in a suds of pm-e soap, then thoroughly rinsed and 
pinned over a covered board to dry. Some laees will stand ironing on the wrong side. 
Let the lace partially dry, and iron over several thicknesses of flannel. 

GREASE-SPOTS on woolen or silk are best removed by naphtha, gasohne, ether or 

157 



158 THL NLW DRESSMAKER 

chloroform. These solvents are highly inflammable, and must, therefore, never be used 
in the same room with an open Ught or flame. 

Lay the material, right side down, on apiece of clean blotting-paper or brown wrapping- 
paper. Rub around and around the spot with a piece of the same material which has been 
dipped in the cleaning-fluid. Be careful to approach the spot gradually and keep rubbing 
around the edge of the spot which is damp with the cleaning-fluid so that no ring forms. 
If you do not approach the spot graduaUy, the grease will spread over a large surface. 

Ether and chloroform are less liable to leave a ring than gasoline or naphtha. 

A good mi.xture for removing grease-spots is made from equal parts of alcohol, benzin 
and ether. 

Grease can also be removed from silk or woolen materials by spreading French chalk 
over the spot and allowing it to stand for some time. This absorbs the grease. Shake 
the chalk off the garment and if it leaves a mark dissolve the remaining particles with 
benzin or ether, being careful to rub around the edge of the spot which is damp with these 
fluids until they have completely evaporated, to pre\"ent a ring from Forming. 

POWDERED FRENCH CHALK OR FULLER'S EARTH may be used by placing the 
powder over the stain and holding over a heated iron. The heat wiU dissolve the 
grease, and the powder wiU absorb it. 

Grease can also be removed from most materials by placing the material, right side 
down, over a piece of brown wTapping-paper and pressing over the wrong side of the 
material with a hot iron. The heat of the iron drives the grease from the material into the 
paper, because grease has a tendency to go from a warm spot to a cooler one. 

TO REMOVE GREASE FROM WHITE GOODS, wash with soap or alkahne lyes. 
Colored cottons or colored woolens may be washed with lukewarm soap lyes. 

MACHINE-OIL STAINS may be removed in the following manner: Moisten borax 
and rub it on the stain from the outside toward the center, taldng care not to spread it. 
Pour water through the material. Washing with cold water and a pure soap will remove 
most stains of machine-oil. 

BLOOD-STAINS may be taken out by washing with soap and tepid water. They 
maj' also be removed by covering the spot with wet laundry starch and allowing it to 
stand. Afterward it should be washed. 

TO REMOVE FRESH INK. FVesh ink can be removed from almost any material 
by stretcliing it tightly over a bowl or deep vessel and pouring boiling w-ater through the 
spot witli force from a height. Or, if still moist, rub either salt, meal flour or sugar, 
and wash in cold water. 

In While Mnh-rmh lemon-juice may be put o\-er the spot and covered with salt. 
Then place the article in the sun for a while, and wash. The process may be repeated, if 
necessary, until the ink-spot is entirely removed. 

Another method of removing ink-stains from white materials is to let the material soak 
in javelle water, made from one-half pound of sal soda, two ounces chlorid of hme and one 
quart of water. After soaking a few minutes, wash in clear water. 

TO REMOVE COPY OR INDIA INK FROM WHITE MATERIALS. Make a strong 
solution of oxahc acid and cold water. Soak the spot for a few moments in the oxalic 
acid and then soak it in ammonia. If necessary, repeat until the stain disappears. 
Rinse thoroughly in cold water. 

TO REMOVE IRON RUST FROM WHITE MATERIALS. Lay the article in the sun 
and apply oxahc acid to the spot with your fingers wet with water. When the spot 
is removed, rinse the garment thoroughly. Also wash your hands well after using the acid. 
It is practically impossible to remove iron rust from colored fabrics, as the acid used in 
removing the spot takes out the color so that the remedy is worse than the rust. 



CLEANING 159 

The javelle water and lemon-juice suggested for ink-stains may also be used to remove 
iron rust. 

TO REMOVE FRUIT STAINS. Make a solution of oxalic acid and water, using about 
ten grains of the acid to a half pint of water. Wet the article in hot water and then 
apply the solution of o.xalic acid to the spot. Rinse it well after the spot has been removed. 

TO REMOVE FRUIT AND INK STAINS. Soak the spot for a few moments in chloro- 
form and then soak it in very strong ammonia. Try a sample of yom- material first, 
to be sure that the chloroform and ammonia do not remove the color. 

MILDEW is the hardest of all stains to remove, and can not always be taken out suc- 
cessfully. Any of the mediums used for ink and iron-rust may be tried. For silk only, 
dip a flannel in alcohol and rub briskly, first on one side and then on the other. 

PAINT, when fresh, can be softened with vaseUne and washed off with benzin. Or, 
it may be rubbed with equal parts of turpentine and alcohol. If a grease-spot remains, 
remove it with benzin. Turpentine mixed with a httle ammonia is also good. Wash 
off with soap-suds or benzin. 

TO REMOVE CHEWING-GUM hold the under side of the garment over a hot iron 
until the gum is melted. Then wipe it off" with a rag wet with pure alcohol. Do not use 
the denatured alcohol for this purpose. 



CHAPTER 35 

WASHING CLOTHES 

Setting Colors— Washing Tliin Crepes— Beaded Garments— Corduroy — 
Turkisti Toweling or Ratine 

TO 5LT COLORS IN WASH MATERIALS. Different colors must be set by differ- 
ent methods. Green, blue, purple and also mauve or lavender can be set by soaking 
for a short time in alum water. Use about an ounce of alum to a gallon of water. 
Blue, pink and most red materials can be set by soaking in salt water, usmg a large table- 
spoonful of salt to about a gallon of water. 

To set the color in brown, tan and deep yellow, use about a cupful of \nnegar to a gallon 
of water and soak the material in it. Black cotton materials and black-and-white mate- 
rials may be soaked in strong salt water or a little turpentine may be added to the water. 

Yellow and the lighter shades ot tan can be brightened when they become faded, by 
adding a httle strong coffee to the rinsing water. 

WASHING THIN CREPES. Oily streaks at neck and wrists should be removed with 
gasoline before washing. Use warm water. Ivory Soap, Lux, Fairy or Borax, or any soap 
that is not too strong with lye. (Professionals use a mixture of salts of tartar and borax — 
half and half in warm water.) Do not rub, liut after a good suds is made dij) the gar- 
ment in it and squeeze the suds through the garment. Thoroughly rinse in several waters 
so that not one particle of soap suds is left on the garment. Do not wring water out, 
squeeze it. Shake it out and wrap up until nearly dry. Iron on the WTong side with a 
warm, not hot, iron. Iron crosswise of the material, stretching a little as you iron. 

Remember Georgette crepe or any thin crepe is liable to part or give way on the cross- 
wise strands, so don't be rough \vith it. 

Colors are usually fast. 

TO WASH A BEADED GARMENT use the same method as for thin crepes. Never 
put a beaded garment through a wringer for it would break the beads. Lay the garment 
right side down on a Turkish towel or soft pressing pad so as not to break the beads in 
pressing. Embroidered garments should be pressed in this way also as the design will 
appear more raised and less flattened than if pressed on a hard surface. 

TO WASH CORDUROY make suds of lukewarm water. Ivory Soap or Lux, or soap 
not strong with lye. Move the corduroy up and down in it, rubbing any spots gently 
with the hands. Rinse thoroughly in clear lukewarm water and lightly squeeze as much 
moisture as possible out with the hands. Never rub on a board or pass through a wringer, 
as this injures the nap. Hang in the air luitil dry, or when almost dry, lay face down on 
a Turkish towel or soft pressing pad, and press lightly; be cai-eful to press -with the nap. 

TO WASH RATINE OR TURKISH TOWELING, make a suds and move the material 
up and down in it. Do not rub it, but just squeeze it. The dirt will drop out, as the 
weave is open. Rinse thoroughly. Squeeze out as much water as possible with your 
hands. Never wring it. Hang it up in the air and let it dry. In pressing, thoroughly 
damjien this material and while it is damp pull out all of the WTinkles. Press lightly 
on a jjadded board with a cloth over the material imtil it is thoroughly dry. Then 
brush it thoroughly with a whisk broom, being careful not to pull it. 

100 



CHAPTER 36 



BOY5' AND MEN'S CLOTHL5 

Patterns — Alterations — Materials — Cutting — Putting the Garment Together — Trousers — The 
Hy — Trousers for Smaller Boys — Side Pockets — Trousers With No Fly — Top Ldge of 
Trousers — Lower Ldge of Trousers — Blouses on Coats — Strictly Tailored Coat — 
Canvas Lapels — Front Ldges — Facing — Seams — Lining — Collar — Pockets — Bath- 
robes — House Jackets — Undergarments 

IT IS not difficult to make garments for boys and men if you go about it in the 
right way. It is mainly a matter of correct finish and careful pressing with hot 
irons whenever pressing is necessary. The frequent use of irons is a very impor- 
tant part of tailoring. 

PAFTLRNS — It is essential to get the right-size patterns for tailored garments. The 
proper way to measure men and boys is given in Chapter 2, pages 12 and 13. 

ALTERATIONS — If it is necessary to make 
any alterations in the length of a pat- 
tern they should be made before cutting your 
material. The Deltor or the pattern envelope 
will tell you where to make them. 

ALTERING LENGTH OF BOYS' PAT- 
TERNS — When a boy of five or six years has 
the breast and waist measure of a nine-year- 
old size, even though he has the height of a 
six-year-old, it is better to get a nine-year-old 
pattern and shorten the coat, the sleeves and 
trousers. 

The Coat and Sleeves Are Shortened in prac- 
tically the same way as in a woman's waist. 
(Chapter 3, pages 19-21.) 

To Shorten the Trousers considerable care is 
needed in determining just where the altera- 
tion should be made. The length of the 
underwaist to which they fasten has a great 
deal to do with their length when worn. It is 
well to measure an old pair of trousers on the 
child, taking the measure from the waist to 
the crotch and then to just below the knee, 111.366. 

allowing for the extra fulness to fall over the 
knee in knickerbockers. Any alteration in 
length above the crotch should be made across the pattern below the e.xtension for the 
pocket opening, changing the seam edges as little as possible. In the lower leg part, fold 
the plait across above the extension piece at the lower part of the leg. (111. 366.) 

MATERIALS — Before cutting your material read Chapter 6 on "Materials, Sponging, 
Cutting," etc. 

CUTTING — After the material has been properly sponged or shrunken lay the pat- 
tern on it as shown in the Deltor Layout or as directed in the pattern instructions. Use 

161 




Shortening the Pattern of Boys' 
Knickerbockers 



162 



THL NLW DRL55MAKLR 



vith sharp dressmaking 




III. 367. Inside View of Pocket wilh BulUinhoIe FIv 



plenty of pins in pinning the paltern on the material and eiit 
shears, following the edge of the pattern exactly. 

Mark all the working per- 
forations with tailors' tacks 
((^hapter 16, page 85) and 
either mark the notches with 
two or three stitches in basting- 
cotton or clip them, making 
them no deeper than is neces- 
sary to see them distinctly. 

PUTTING THE GARMENT 
TOGETHER— Follow the Del- 
tor or the Illustrated Instruc- 
tions for putting the pieces of 
the garment together, putting 
in the pockets wherever there 
are any. (Chapter 22, page 
104.) 

TROUSERS— r h e _ F ly . 
Baste a facing of lining ma- 
terial, cut from the fly-piece 
pattern, to the outside of the 
front edg(^ of iho left-front por- 
tion. Stitch a narrow seam. Turn the facing to the wrong side, and baste it flat, with 
the cloth at th<^ seam edge entirely covering the lining. 

Now lay together, face to face, two fly pieces, one of cloth and one of lining, and stitch 
a seam on the front edge. Turn it to the right side, baste flat and press. 

It is more convenient to make the buttonholes in tlu^ fly now than after it is stitched 
in plac(i. They are worked from the cloth side, the first one coming just below the waist- 
band. Then baste the fly into position, its edge a trifle back of the edge on the left front 
of the trousers. Stitch one-quarter inch back of the buttonholes, through the four thick- 
nesses of goods, down from the waistband, ending in a curved line on the lower edge. 
(III. I5()7.) Tack the fly betwe(in the but,tonholes to the facing. Overcast the raw edges 
on th(! inside. 

Tlu? underlap])ing fly piece for the buttons on the right front of the trousers shoidd be 
faced with lining. The cloth piece is then basted and stitched to the edge of the right 
front of the trousers. This seam is then pressed open. Turn under the lining, clipping 
the edge to make it lie flat, and l)aste it to the cloth seam. From the right side stitch 
neatly an even line down close to the bastings and across the free edge at the bottom. 

Small trous(T buttons are sowed on in position corresponding to the buttonholes on 
the opposite fly. 

For the Smaller Hot/, when buttons and buttonholes are imprac- 
ticable, th(^ small facing provided for in the pattern is attached to 
the right side of both of the fronts, stitched and turned to the inside. 
( 111. 3()i), page HiiS.) The front seam is then closed from the facing 
to the waistline. 

The side pockets should be put in next. 

SIDE POCKETS OF TROUSERS are usually made in a seam. 
Cut a squan^ piiH'e of silesia or stout lining material the size desired, 
and, doubling it over, notch the edges to indicate the pocket open- 
ing. Make corresponding notches in the seam edges of the trou- 
sers. V-MM'. the back edge of the pocket on both the right and wrong 
sides with bias facings of the cloth one inch and a quarter wide and 
long enough to extend from the top of the pocket to an inch below 
the notch in the opening. (III. o68.) Lay the front edge of the 
pocket (^dge to edge with the front edge of the trousers on their 
wrong side and baste it to them. In the same seam baste a bias 




III. 368. Side 
Pocket 



BOYS' AND MLN'5 CLOTHL5 



163 



facing of the cloth to the front of the trousers on the right side. This facing should be 
the same length and width as the facings on the back edge of the pocket. Stitch the 
pocket, trousers and fa(^ing together in a narrow seam. Turn the facing over on to the 
pocket and run a row of stitcliiiig close to the fold to hold it in place. Turn under the 
back edge of the facing and stitcli it to the pocket. Trim off the lower corners of the 
pocket (HI. 368), and crease the edge for a seam toward the inside. The seam of the 

pocket may then be (!losed. 
Baste it first, and close it with 
one stitching. The back edge 
of the pocket is caught to the 
front with bar stay-tacks. The 
upper edges are held by the 
waistband. 

TROUSERS HAVING NO FLY 
CLOSING have the waistband 
divided into a front and back 
waistband, leaving an opening 
at each side of the trousers. 
In this case the e,\tension on 
the side of the back pieces of 
the trousers is faced, thus form- 
ing the underlap for the opening. 
The loose edge of the pocket 
piece is then faced on both sides 
with the cloth, and two rows 
of stitching, a quarter of an inch apart close to the edge, give it a firm finish. 
Now the upper edges of the pocket are basted to the upper edge of the trousers front. 
(111. 309.) 

Make a bar, overcast or buttonholed, between the two rows of stitching, catching 
through the cloth, and both sides of the pocket at the top and at the bottom of the open- 
ing. 

The pocket may now be closed. Round off one or both of the corners, and, turning in 
the seam with the raw edges toward the inside of the pocket, stitch securely. 




369. Inside View of Trousers Having No Fly 



THE OUTSIDE SEAM of the trousers is closed next. In knickerbockers it is stitched 
in a seam all the way down. The lower edge of the leg is gathered in a casing with an 
elastic. In trousers fin- 
ished with a band the ex- 
tension allowed at the low- 
er part for an opening at 
the side is turned under for 
a facing on the upper side, 
and faced and used as an 
extension on the under side. 
The band can be fastened 
with a buckle or with a 
button and buttonhole. 
After stitching the seam, 
turn the raw edges toward 
the front. From the out- 
side, run a line of stitching 
one-eighth of an inch from 
the seam. 

Now stitch and press 
open the inside seam of 
each leg. The two leg por- 
tions may then be joined, 
beginning the seam down 
the back at the waist, and 




.370. Outside View of Flv and Pocket 



164 THE NEW DRESSMAKER 

extending it to the notches in the lower edge of the fly pieces, including in the seam the 
seams of the fly pieces below the notches. Press this seam open and baste over it, flat 
on the inside, a piece of tape or a bias strip. Stitch from the outside a row on each side 
of the seam. Turn the end of the tape over and hem neatly down at the end of the fly 
stitching. On the outside, at the end of the fly opening, make a strong stay-stitch or 
bar, to keep it from tearing out. 

THE TOP EDGE of the trousers is turned over a seam, and a strip of lining stitched 
to it, then basted down in a faced hem. A band, with the buttonholes worked in it with 
stout tlu-ead or twist, is basted over this faced hem, and from the right side stitched 
thi'ough both facing and band at the lower edge and the ends. A strong tack thread 
should catch the band and the facing between the buttonholes. 

THE LOWER EDGE of each trousers leg is hemmed by hand with invisible stitches. 

BLOUSES or the coats of suits vary considerably in style. It is best to rely on the 
Deltor or Illustrated Instructions for making and finishing. 

A STRICTLY TAILORED COAT for a man or boy is made in very much the same 
way as a strictly tailored coat for women e.xcept that the effect is even more tailored. 
The best tailors in New York give a well-tailored and mannish look to a coat by the 
methods given below. 

For this style of coat it is very important to know how to baste in the canvas, face the 
front of the coat and put in the lining before joining the shoulder seam. Not until this 
has been done should the coUar be basted to the coat. These are the fine points of 
tailoring and should be followed closely in coat-making. 

THE CANVAS IN THE COAT FRONT. In basting the canvas to the front of the 
coat, the canvas should not be basted from the canvas side, but the coat should be 
placed over the canvas and the two basted together from the outside of the coat. This 
is done to prevent making the canvas too short which would cause the coat to pucker. 

THE CANVAS AND CLOTH IN THE LAPEL OF THE COAT ARE HELD TOGETHER 

by padding stitches. The method of making these padding stitches is shown in Chapter 
12, page 59. Hold the lapel over the hand with the canvas side up and start the padding 
stitches a little back of the crease roll at the neck and gradually taper them to the crease 
roll at the front of the coat. The stitches are then worked outward to the edge of the 
lapel. The canvas in the front of the coat and the lapel is then trimmed off three- 
eighths of an inch from the edge. 

TO PREVENT THE FRONT EDGES OF THE COAT AND LAPEL FROM STRETCHING 
use a narrow linen or cotton tape which has been thoroughly shrunken, placing it along 
the front edge of the coat and the lapel. (.Page 60, Illustration 102.) Place the tape 
a good three-eighths of an inch from the edge, so that later when sewing on the facing 
the tape will not be caught in the facing sewing. Also sew a tape one-eighth of an 
inch in in back of the crease roll of the lapel, starting the tape about an inch from the front 
edge of the coat and extending it one inch above the neck edge. When a soft roll in the 
lapel is desired the tape along the crease roll is omitted. When the tape has been 
sewed on carefully the fronts are pressed and the lapels pressed back. 

THE FACING — The method of putting on the facing is the same as for the ladies' 
coat. (Chapter 12, page 61.) 

Turn up the hem at the bottom of the coat and turn in the bottom of the facing even 
with the coat and baste. Baste the back edge of the facing to the canvas and catch- 
stitch it. Fell the lower edge to position. 

THE SEAMS — When using a material which ravels easily the seams should be over- 
cast if the coat is lined. (.Chapter 16, page 82.) If the coat has a half or full skeleton 
lining the seams should be bound. (Chapter 17, page 88.)^ The back edge of the facing 
and the hem at bottom of the coat should also be bound. 



BOYS" AND MEN'S CLOTHES 165 

THE LINING — The coat is now read}' for the lining. Place the coat on the table 
with the shoulder seams open and baste the Mning back to the inside of the coat with the 
underarm edges along the underarm seams. 

Baste the hning front to the inside of the coat. Turn under the underarm edges and 
baste them over the back. Turn under the front edge and baste it over the facing, allow- 
ing a httle ease in width. Turn under the bottom of the lining and place it one-half an inch 
from the bottom of the coat, basting the hning to position one-half an inch from the 
edge. After the lining has been basted in position stitch the shoulder seams of the coat 
and press the seams open. (Chapter 32.) Turn to the outside of the coat and baste the 
shoulder seams to the canvas. 

THE COLLAR — The under section of the collar for a coat should be of under-ooUar 
cloth which can be purchased at any tailors' trimmings store, and comes in gray, brown, 
blue and black at about twelve or fifteen cents a collar. In purchasing this cloth any 
store of this kind has a form for a notched collar which they lay on the material and cut 
just the amount required for the collar. This piece of material must be sponged. (Chap- 
ter 6.) 

Cut the under coUar like the pattern. Join the back edges and press the seam open. 
After pressing, trim off the edges of the under collar three-eighths of an inch. Baste a 
piece of canvas (cut bias) over the collar and baste along the crease roll. The stand of 
the collar, which is the part near the neck up as far as the crease roll, should be held 
together with rows of machine stitching, making the rows one-eighth of an inch apart. 
(Chapter 12, page 59.) The turnover part of the collar is held together by padding 
stitches (Chapter 12, page 59), using the same method as in making the lapel. Press the 
collar into shape, stretching the bottom of the stand from three-eighths to one-half an 
inch and the outer edge about one-quarter of an inch. 

Fold the coUar along the crease roll, canvas side up. and press it into shape. Trim off 
the edges of the canvas all around to within one-eighth of an inch inside of the edges of 
the under collar. The collar can now be basted to the coat. Baste the neck edge of the 
collar to the neck edge of the coat three-eighths of an inch from the edge and overhand 
the collar in place with fine overhand stitches. (Chapter 16, page 82.) Then turn to 
the inside and catch-stitch the neck edge of the coat to the coUar. The upper end of the 
tape along the crease roll of the lapel which extends over the neck edge should be sewed 
to the coUar inside the crease roll. This pre\ents the roU line at the neck from stretching. 

The top of the facing should be turned in and slip-stitched along the top of the lapel 
and along the outline at the bottom of the collar. 

The over-eoUar should now be basted over the collar along the crease roU and about 
one-half inch from the outer edge, making sure that there is plenty of size in the over 
collar when the collar is rolled back. Turn under the edges of the over collar except the 
neck edges between the shoulder seamseven with the edges of the under collar and baste. 
Fell the outer edges of the under collar to the collar. SUp-stitch the lower edge of the 
collar along the top of the facing. Baste the shoulder edge of the lining back to the 
seam of the coat. Turn under the shoulder edge of the lining front and baste it over the 
lining back. Turn under the neck edge and baste it over the collar edge. 

The buttonholes are made with eyelets. (Chapter 24, page 113.) 

POCKETS — Directions for making different types of pockets used on boys' and mens' 
clothes are given in Chapter 22. 

BATHROBES, HOUSE JACKETS. UNDERGARMENTS OF ALL KINDS, SLEEPING 
GARMENTS, ETC. — In making any of these garments follow the Deltor or Illustrated 
Instructions given with the pattern. Each of these types of garments should be finished 
according to the style and the purpose for which it is to be used. In all these garments 
for boys and men it is important that every detail of the work be done neatly and 
accurately and according to the directions given with the pattern. 



166 



THE NEW DRESSMAKER 



INDEX 



PAGE 

Altering Boys' Patterns .... 161 
Altering Length of Patterns . 19-23 
Altering Skirt, Yoke and Drawer 
Patterns for Figures That 
Vary Prom the Average . . . 28-31 
Altering Waist Patterns for Fig- 
ures That Vary From the 

Average 24-27 

Applied Trimmings 132-142 

Applique Embroidery 144 

Aprons GO 

Armhole 41 

Arm Measure 11 

Arrowhead Tacks 127 

Backstitch 82 

Ball-Stitch 147 

Barred Buttonholes 112 

Bar-Tacks 127 

Bastings 81 

Bathing-Suits 67 

Bathrobes (Ladies and Misses) . 66 
Bathrobes (Men's and Boys') . . Iti.'j 

Belts Ill 

Bias Bindings 131 

Bias Strips 15 

Bias Trimmings 129-131 

Blanket-Stitch 125-126 

Blind Loops 117 

Blood-Stains 158 

Blouses 42-43 

Bound Buttonholes 114 

Boys' Patterns 12 

Boys' Suits 161-165 

Box Plaits 98 

Braid 143 

Bust Measure 10-11 

BuTTBRiCK Patterns 10-18 

Buttonholes 112-115 

Buttons 115-116 

Capes 64 

Care of the Clothes 156 

Casings Ill 

Catch-Stitch S3 

Children's Dresses 51-52 

Children's Coats 64 

Cleaning 157-159 



PAGE 

Coats and Capes 58-64 

COLLARLESS NeCK 41 

Collars 109-111 

Collars (Detached) 46 

Collars (Ladies' and Misses' 

Coats) 59-61 

Collars (Men's and Boys' 

Clothes) 165 

Combination Stitch 82 

Corded Facing 95 

Corded Tuck 130 

Cording 130 

Cord Piping 131 

Cord Seam 88 

Cord Shirring 139 

Cross Tucking 97-98 

Crosswise Fold 15 

Crosswise of Material 14 

Crow's-Foot Tack 128 

Cuffs (Blouse) 43,111 

Cuffs (Coat) 62 

Cuffs (Shirtwaist) 45-46 

Curved Tucks 97 

Cutting Materials 32-36 

Darning 146-148 

Darts 17-18 

Deltor G, 14, 18 

Detached Collar (Shirtwaist) . 4G 

Diagonals 35 

Doll Patterns 13 

Drawn-Work ....... 121-122 

Dresses 51-52 

Dresses (Infants) 77 

Dress-Form 8-9 

Dress.making Equipment 7-9 

Dyeing 151 

Emblems and Chevrons .... 55-56 
Embroidery Trimmings .... 133-134 
Equipment for Dressmaking . . . 7-9 
Eyelets 115 

Facings 94 

Faci-ngs (Ladies' Coats) 61 

Facings (Men's and Boys' Coats) . 164 

Fagot-Stitch 122-123 

Peather-Stitcii 126 



INDEX 



167 



PAGE 

Fell, French Seam 86 

Figured Materials 34-35 

Flat Fell Seam 87 

Fly Closing (of Trousers) . . . 162 

Folds, Bias 129 

French Gathers 138 

French Hem 92 

French Hemstitching 119 

French Seams 86 

French Tacks 84 

Furcloth or Fur 64 

Fur (Sewing on) 144-145 

Gaging or French Gathers . . . 138 

Gatherings 138 

Gibson Tuck 44 

Grease Spots 157-158 

Half-Backstitch 82 

Half-Lined Coat 63 

Hanging a Skirt 48-49 

Hemming Stitches 83-84 

Hems 91-93 

Hemstitching (Hand) .... 119-120 
Hemstitching (Imitation Hand) 120 

Hemstitching (Machine) . . 118-119 

Hooks and Eyes 116-117 

House Dresses 65 

House Jackets 165 

Illustrated Instructions ... 6, 17 

Infants' Clothes 73-80 

Ink Spots 158 

Inserting Embroidery 133 

Inserting Lace 134-135 

Inserting Ruffle IN Hem 132 

Ironing-Board 154 

Iron Rust 158 

Irons 154 

Juvenile Patterns 12 

Kimonos 66 

Kimono Sleeve Garment .... 36 
Knots 81 

Lace (Use of) 134-136 

Lapped Seams 87,90 

Layette 73-80 

Layouts for Cutting 6, 14 

Lengthwise Fold 15 

Lengthwise of Material .... 14 

Lining (Ladies' Coats) 62 

Lining Materials (Waists) ... 37 

Lining (Men's Coats) 165 

Lining (Waist) 38-40 

Machine-Oil vStains 1.58 

Marabou (Sewing on) 144 



page 

Materials 13, 32-36 

Maternity Dresses 72-73 

Mending Tissue 148 

Men's Patterns 13 

Mildew 159 

Milliners' Fold 129 

Misses' Patterns 12 

Mitered Corners 91 

Nap or Pile 32-33 

Negligees 66 

Notches 16 

Nuns' Tucks 97 

One-Piece Dress 51 

Outlet Perforations 17 

Outlet Seams 17 

Outside Waist 41 

Overcasting 82 

overhanding 82 

Padding Stitches 59 

Paint Stains 159 

Patching 149-150 

Patch Pocket 104 

Patent Fasteners 116 

Perforations 15-18 

PicoT Edging 119 

Pile 32-33 

Piping 131 

Plackets 100-103 

Plaid Materials 33-34 

Plaitings OR Frills 43.71 

Plaits 98-99 

Pockets 104-lOS 

Pockets (Trouser) 1()2 

Pressing 1.54-1.55 

Puffing 141 

Puff Ruffle 142 

Quilling 142 

Reinforcing 146 

Remodeling 151-1.53 

Removable Collar 110 

Rolled Seam 87 

Rolled Edges 123 

Rolled Hem 133 

Rompers 67 

Round-End Buttonhole 113 

Ruches 137, 140, 141, 142 

Ruffles 132-133 

Running Stitches 82 

Sailor or Naval Suits 53-.57 

Scalloped Shirrings 139 

Seams (Ordinary and Outlet) . . 17 
Seams (Undergarments a n d 
Bloomers) 09-70 



168 



THL NEW DRE.55MAKLR 



Seams, Simple 86-87 

Seams, Tailored 87-90 

Set-In Sleeve 41 

Sewing-Room 7 

Sewing Stitches 81-85 

Shirring 139 

Shirt Waists 43-46 

Skirts, 47-50 

Sleeping Garments 165 

Sleeve Board 154 

Sleeve Form 9 

Slot Seams 89 

Small Women's Patterns .... 12 

Smocking 52 

Sponging Materials 32 

Square Corners 91 

Standing Collar 110 

Stand of Coat Collar 59 

Steaming Materials 32 

Stoting 148 

Strap Seams 90 

Stripes and Plaids 33-34 



Tailors' Buttonholes 113 

Tailors' Cushion 154 

Tailors' Strap 130 

Tailors' Tacks 85 

Tailors' Tissue 148 

Tears 148 

Trimming Stitches 118-128 

Trousers 162-163 

Tucks 97-98 

Tuck Seam 88 

Tuck Shirring 139 

Undergarments 68-71 

Use of Butterick Patterns . . 10-18 

Waists, Lined 37-41 

Washing Clothes 160 

Weights 8 

Weights in Coats 60 

Welt Pockets 107-108 

Welt Seams 89 

Whipping on Trimming 134 



Tailored Coat (Ladies, Misses, 

etc) 58-64 

Tailored Coat (Men's and Boys) 164-165 
Tailored Seams 87-90 



Yoke .... 52 

Yoke (Sailor) 63 

Yoke (Altering Yoke) 30 



LIBRARY OF CONGRESS 



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